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GREEK AND ROMAN METRES. 


THE METRES” =* 


GREEKS AND ROMANS. 


A MANUAL 
FOR SCHOOLS AND PRIVATE STUDY. 


TRANSLATED FROM THE GERMAN OF 


EDWARD MUNK. 


BY 


CHARLES BECK AND C. C. FELTON, 


PROFESSORS IN HARVARD UNIVERSITY, 





BOSTON: 
JAMES MUNROE AND COMPANY. 


1844. 


Entered according to Act of Congress, in the year 1844, by 
JAMES MUNROE & CO. 
in the Clerk’s Office of the District Court of Massachusetts. 


ANDOVER: 
ALLEN, MORRILL AND WARDWELL, 
PRINTERS. 


PRG AC Ee: 





Tue Translators of the following work have long felt the 
necessity of a treatise on the Greek and Roman Metres, as a 
general book of reference, to accompany the text books used 
in colleges in teaching the ancient languages. No manual 
suited to supply the deficiency has appeared in English. ‘The 
great work of Hermann has been abridged and translated by 
Seager; but the distinguished German is so much attached to 
certain philosophical views of Kant, on which his theory of 
metre is founded, that great as are the merits of the Elementa 
in a scientific point of view, it is not found to answer very well 
the purpose of a practical manual. The treatise of Dr. Munk 
has been most favorably received wherever it is known; his 
theory of metre is essentially the same as that which Bockh 
unfolded in his essay “de Metris Pindari,’ which, says the 
author of the present work, “recommends itself not only by 
the historical grounds on which it is constructed, but also by 
its truth and intelligibleness.” 

The work of Dr. Munk, here presented in English, it is be- 
lieved, will be found to contain a very accurate and thorough 
account of the metrical systems of the Greeks and Romans; 
and as complete an elucidation of all the details of those sys- 
tems, as can now be given. The introduction condenses in- 
to a few pages the facts in the historical development of the 
ancient metres which are elsewhere scattered over many vol- 
umes. The theory of metre is not dwelt upon at too great 
length, but is handled with a due regard to the amount of 

A® 


“dC383 


vi PREFACE. 


knowledge actually existing. The impossibility of establishing 
the precise mode in which the ancients applied their metrical 
principles, in several cases, such, for example, as the method 
by which the Greeks reconciled the metrical with the rhetori- 
cal accent, in reading or delivering verse, is duly acknowledged. 
The subject, it is believed, is laid out and discussed with scien- 
tific precision; the divisions are clear and obvious, and the 
proportions just. Every point is sufficiently illustrated by ex- 
amples, taken mostly from the purest Greek and Latin writers. 
The translators have had a difficulty in determining the proper 
technical terms in some instances; the subject has been so 
imperfectly handled in English, that the metrical nomenclature 
was not fully adequate to the exigencies of the case. Very 
few new terms, however, have been coined, and those the 
classical reader will at once comprehend from their etymology. 

The references of the author to the Greek and Latin poets, 
have been retained. In the citations from the Greek drama- 
tists, Dindorf’s Poetae Scenici Graeci (Lips. 1830) has been 
used by him; in those from Pindar, Dissen’s edition (Goth. et 
Erf. 1830). 

For the convenience of reference, an Index has been added 
by the translators. 


Cambridge, Mass., August, 1844. 


OON TE NES. 





INTRODUCTION. 
BEEINITION, DIVISION, UTILITY, HISTURY AND LITERATURE 
OF THE METRICAL SCIENCE .  . Pagel 
PA by a 
THE DOCTRINE OF RHYTHM. 
Cuapter I. — Definition of Rhythm.—Arsis.—Thesis : me. 
Cuaprer II. — Definition of Metre—Long.—Short . : 9 
Cuaprer IIT.— Union of Rhythm and Metre.—Kinds of Rhythms a 
Cuaprer 1V.—Irrationality, Middle Time . fe i 
CuapTerR V.-— Movement.—Resolution of Longs. secbatencret 
of Shorts. 20 
Cuarter VI.— The Mode in heh the enone adawed pete 
and Metre to Words . ; ree || 
Cuarprer VII.—Series.—Stop. Sages Doveatalesia Gales: 
is.—Syllaba anceps. . 29 
Cuarpter VIIT.— Combination of Series: —“Delinition of Vere — 
Hiatus . ; 28 
CuaptTer IX. — Of fhe Geaabin tugs of Seren sal Vers ae 
greater rhythmical Masses . : . ers: 
Cuaprer X.— Of the Substitution of one Riven for another. 36 
Cuaprer XI,— Caesura.—Diaeresis . : : : : . 3S 
PARA id. 


THE APPLICATION OF THE LAWS OF RHYTHM TO POETRY BY THE 
GREEKS AND ROMANS. 


Introduction.—Brief Survey of the History of Greek and Roman 
Poetry with particular reference to the Metrical Form » 42 


Vill CONTENTS. 


SECTION I. 


SIMPLE RHYTHMS. 


Cuapter [.— Rhythms the Fundamental Foot of which is 

triple-timed.—The double or Trochaic-iambic Class 
A. Falling, Trochaic Rhythms 

1. The Monopody.—Monopodia aoehnice 
2. The Dipody.—Dipodia trochaica s 

. The Monometer.—Monometer trochaicus 

. The Dimeter.—Dimeter trochaicus 

The Trimeter.—Trimeter trochaicus 

. The Tetrameter.—Tetrameter trochaicus 

. The Pentameter.—Pentameter trochaicus 

The Tripody.—Tripodia trochaica 


o 26° o © 


The Tetrapody.—Tetrapodia trochaica 
The Pentapody.—Pentapodia trochaica 


Sy ea 


The Hexapody.—Hexapodia trochaica 
B. Rising, lambic Rhythms : ; 

1. The Monopody.—Monopodia iambica 

2. The Dipody.—Dipodia iambica ; 
a. The Monometer.—Monometer iambicus 
b. The Dimeter.— Dimeter iambicus 
c. The Trimeter.—Trimeter iambicus 
d. The 'Tetrameter.—Tetrameter iambicus 
The Tripody.—Tripodia iambica—. 
The Tetrapody.—Tetrapodia iambica 
The Pentapody.—Pentapodia iambica 


m OO 


Do 


The Hexapody.—Hexapodia iambica 


Cuaprer II.— Rhythms the Ground Foot of which is four- 

timed.—The equal or Dactylic-anapaestic kind 
A. Falling, Dactylic Rhythms 

a. Rational Dactyls ‘ 

. The Monopody, or the Moncmeter 

. The Dipody, or the Dimeter 

. The Tripody, or the Trimeter 

. The Tetrapody, or the Tetrameter 

. The Pentapody, or the Pentameter 

. The Hexapody, or the Hexameter 

b, Irrational Dactyls.— Logaoedic Series 


Ao PR WW 


CONTENTS. 


Aeolian Verses. 

. Trimeter acat. 

. Trimeter cat. in disyll. 

. Tetrameter acat. ; ; 

. Tetrameter cat. in disyll. . ; ‘ 

. Pentameter cat. in disyll. . : 
Logaoedic Dactyls. 

. Logaoedic Dactyls with a simple dactyl 


OP WW = 


jk 


a. Dactylicus simplex simplic, trochaicus 

b. Dactylicus simplex duplic. trochaicus 

c. Dactylicus simplex triplic. trochaicus 

d. Dactylicus simplex quadruplic. trochaicus 
2. Logaoedic Series with a double dacty] 

a. Dactylicus duplex simplic. trochaicus 

b. Dactylicus duplex duplic. trochaicus 

ce. Dactylicus duplex triplic. trochaicus 

d, Dactylicus duplex quadruplic. trochaicus 
3. Logaoedic Series with a triple dactyl 

a. Dactylicus triplex simplic, trochaicus 

b. Dactylicus triplex duplic. trochaicus 
4. Logaoedic Series with a quadruple dactyl. . 

B. Rising, Anapaestic Rhythms. : : 

a. Rational Anapaests ; 
1. The Monopody. = Mipnascdia anopanslite é 
2. The Dipody.—Dipodia anapaestica 

a. The Monometer.—Monometer anapaesticus 
b. The Dimeter.—Dimeter anapaesticus 
c. The Trimeter.—Trimeter anapaesticus 
d. The Tetrameter.—Tetrameter anapaesticus 
3. The Tripody.—Tripodia anapaestica . 
4. The Tetrapody.—Tetrapodia anapaestica 
5. The Pentapody.—Pentapodia anapaestica . 
6. The Hexapody.—Hexapodia anapaestica 
b. Irrational Anapaests.—Logaoedic Series - 
Cyclic Anapaests 
Logaoedic Anapaests : 
1, Logaoedic Series with a simple Fannneel 
a. Anapaesticus simplex simplic. iambicus . 
b. Anapaesticus simplex duplic, iambicus 
c. Anapaesticus simplex triplic tambicus 
d. Anapaesticus simplex quadruplic, iambicus 


100 
101 
101 
101 
101 
102 
102 
102 
102 
103 
104 
104 
104 
104 
105 


x CONTENTS. 


2. Logaoedic Series with double anapaest , 
a. Anapaesticus duplex simplic. iambicus 
b. Anapaesticus duplex duplic. iambicus 
c. Anapaesticus duplex triplic. iambicus 
d. Anapaesticus duplex quadruplic. iambicus 
3. Logaoedic Series with triple anapaest 
a. Anapaesticus triplex simplic. iambicus 
b. Anapaesticus triplex duplic. iambicus 
4, Logaoedic Series with quadruple anapaest 
a. Anapaesticus quadruplex simplic. iambicus 
b. Anapaesticus quadruplex duplic. iambicus 


Cuapter I1J.— Rhythms whose Ground Foot is five-timed.— 
The one and a half or Paeonic kind 
A. Falling, Cretic Rhythms . 
a. Cretics with rational thesis 
1. The Monopody, or the Monoineter 
. The Dipody, or the Dimeter 
. The Tripody, or the Trimeter 
. The Tetrapody, or the Tetrameter 
. The Pentapody, or the Pentameter 
. The Hexapody, or the Hexameter 
b. Cretics with the irrational thesis, senna 
B. Bacchic Rhythms : 
1. The Dipody, or the Dinter : 
2. The Tetrapody, or the Tetrameter 


Anke |W W 


Cuartrer [V.— Rhythms the Ground Foot of which is six- 
timed.—The Choriambie-ionic kind 
A. Falling Rhythms 
a. Choriambs : 
. The Monopody, or the Manomietey 
. The Dipody, or the Dimeter 
. Fhe Tripody, or the Trimeter 
. The Tetrapody, or the Tetrameter 
. The Pentapody, or the Pentameter 
. The Hexapody, or the Hexameter 
b. Ionici a majore 
1. The Dipody, or the ininetey 
2. The Tripody, or the Trimeter 
3. The Tetrapody, or the Tetrameter 


An kw WD = 


105 
105 
105 
106 
106 
106 
106 
107 
107 
107 
107 


103 
108 
108 
109 
TEE 
113 
114 
115 
115 
116 
125 
127 
128 


129 
129 
129 
i3t 
141 
143 
145 
145 
146 
146 
147 
147 
148 


CONTENTS. Xi 


B. Rising Rhythms.—Ionici a minore . : : 3 . 148 
1. The Monopody, or the Monometer_. : ; «149 
2. The Dipody, or the Dimeter : : i . 150 
3. The: Pripody, or the Trimeter : ; : . 11 


4. The Tetrapody, or the Tetrameter . : : 2 Loz 


SECTION IL. 


THE COMBINATION OF SIMPLE RHYTHMS IN LONGER RHYTHMICAL 
PORTIONS. 


CuaprTer I.— Composition by the line; Stichic Composition 153 


4. Stichic Verses of the Trochaic- iambic kind ‘ : . 154 
A. Trochaic Verses . Z ; ; . 154 
1. Dimet. troch. with athe: bree : ; . . 154 
2. Dimet. troch. with an ithyphallic ; . ; . 154 
3. Tetram. troch. acat.—Versus octonarius. : . 155 
4, Tetram., troch, cat.— Versus septenarius or quadratus 156 
5. Tetram. troch, ious or Hipponacteus, or quadratus 
scazon. 3 ' ; 2 : : 259 
©. Pentam. troch. oat UMEQUETQOY . : : ; = ‘159 
7. Two Ithyphallics : ; : é , : + 159 
8. Versus Saturnius : é ‘ : ; : ie Ei, 
B. Jambic Rhythms . Oat : : . ‘ ee OE 
1. Dimet. acat, ; : : ; : 2 LOR 
2. Dimet. acat. with an ihaphaltie. ; : : a mlGe 
3. Dimet. acat. with a tetrapod. troch. cat. . . . 162 
4. Trimet. acat. ; : : : « 162 
a. The Trimeter of the Eacntiousipihere : ; Ge 
b. The Trimeter of the Greek dramatists . : 204 
a. The tragic trimeter. . , : ; ate LOe 
f. The satyric trimeter  . : : f : « 240% 
y. The comic trimeter_. : : } Weaiias 
0. The trimeter of the Roman dcamnatiete ye hee 5: 
5. The lame Trimeter.—Trimeter claudus, scazon, Hip- 
ponacteus, Choliambus, Mimiambus : ‘ . 17 
6. Tetrameter acatalectus.—Versus Boiscius . 2 . 176 
7. Tetrameter catalecticus.—Versus septenarius. ee it | 
8. Tetrapodia catalectica ‘ : ; : ‘ 2 AS6 
9. Twe tetrapodiae catalecticae . ; ‘ ' ce bo) | 


Xil 


CONTENTS. 


If. Verses of the Dactylic-anapaestic kind, used by the line 
A. Dactylic Verses : 
a, Rational Dactyls 


Lon 


IAIN 


DONA MkRwwe,, 


. Dimeter cat. in disyll. Bryan Adore 
. Metrum Encomiologicum 

. Metrum prosodiacum 

. Metrum Choerileum 


Tetr. cat. in disyll. . 


. Tetr. cat. in disyll. with an iihyphathe 
. Versus heroicus s 


Hexameter weloveos 


. Aeolic and logaoedic verses 
. Trim. cat. in disyll . 


Trim. acat. 


. Tetram. cat. in disyll. 


Tetram. acat. . : 2 ‘ ; 
Pentam. cat. in disyll. ”Ezros Avohexov 


. Phalaeceus hendecasyllabus : ; 
. Dactyl. log. simp]. duplic. troch. cat, wir aane: 


and the same acat. with a cretic 


B. Anapaestic Verses 
a. Rational Anapaests 


1: 
2. 
3. 


4. 


Dimet. cat. in syll.—Paroemiacus . F 

Trim. cat. in syll. “EuSarzjovov, Messenicum . 

Tetram. cat. in syll.—Versus Laconicus.—Versus 
Aristophaneus 

Tetram. acat. 


b. Irrational, logaoedic Naannese ; 


Versus Archebuleus 


T1I. Verses of the one and a half kind, nae te the ine 
A. Cretic Rhythms : : 
1. Tetram. acat. ' é : A 
2. Tetram. cat. 
B. Bacchic Rhythms . 
Tetram. acat. 
IV. Verses of the Charumnied -ionic ake: ea by the fee 
A. Choriambic Rhythms 
a. Choriambic series without the anacrusis jaar basis. wth 


iL 


logaoedic terminations 
Trim. choriamb. 


2. Tetram. choriamb. . 


181 
181 
181 
181 
182 
182 
183 
183 
183 
183 
195 
196 
1. 
197. 
197 
ae 
198 
198 


192, 
200 
200 
200 
200 


201 
203 
204 
204 
204 
204 
204 
206 
206 
206 
207 
207 


207 
207 
207 


CONTENTS. 


3. Pentam. choriamb. . 
b. Choriambic series with the anacrusis Aa iigasidte ter- 
minations 
1, Monomet. chobiamb; 
2. Dimet. choriamb. 
3. Trim. choriamb. i 
c. Choriambic series with the bits and hagabeds cunt: 
nations. : . 
. Monom. shoriain. Sanohicudl gunanay lahat 
. Dimet. choriamb. Asclepiadeum I. . ; 
. Trimet. choriamb. 
. Trimet. choriamb. ‘Avclesiadeaus LI. 
. Trimet. choriamb. 
. Tetram. choriamb. 
Choriambic verses erroneously called lyoeieonmcagh 
1. Epionicum polyschematistum . 
2. Metrum Eupolideum . ‘ : eV RL oe 
3. Metrum Cratineum 
4. Choriambicum pelvackensn mart 
5. Versus Priapeus 
B. lonici a majore ‘ 
1. Trim. cat. in trisyIl: ‘Vette PRN EE 
2. Tetram. cat. in disyll_— Versus Sotadeus. 
C. lonici a minore 


Om 09 te 


on 


1. Dimet. acat.—Versus AH oeeeoe 
2. Dimet. cat. 

3. Trimet. acat. 

4. Trimet. cat. ; 


5. Tetram. cat.—Galliambus . 


Cuaprter II. — Distich Composition ‘ : é : 
I. Of the double kind . ‘ ‘ : : . ; < 
A. Trochaic Rhythms : , 
1. Trochaicum.—Metrum Hiscoadeieon 
B. [ambic Rhythms . : “ 
1. Trim. iamb, acat. ; ithuy phiallic : : 


2. Iambicum senarium quaternarium - 3 


3. Trim. iamb. acat.; trim. dact. cat. in syil. 

4, Trim, iamb. acat.; trim. dact. cat. in syll. with dim. 
iamb, acat Sm awioohinn: tertium 

. Trim, iamb, acat.; dact. log. dupl. duplic. coh pae 


B: 


on 


xiil 
207 


208, 


XIV 


6. 
<A 


CONTENTS. 


Trim. iamb. acat.; versus Phalaeceus 
Trim. iamb. claudus; dim. iamb. acat. 
Tetram. troch. cat.; Adonius with the anacrusis 
Trim. iamb. acat.; Adonius with the anacrusis . 


If. Of the equal kind 
Dactylic Rhythms 


¥. 
. Hex. her. ; trim. dact. cat. in sylk —Archilochium pri- 


anna 


14. 


Hex. her.; dim. iamb. acat. oP Miapienm primum 


mum 


. Hex. her.; dim. iamb. acat. and trim. dact. cat. in syll. 


—Archilochium secundum 


. Hex. her. ; trim. iamb. acat Puteanbioan vinden 
. Hex. her.; tetram. dact. cat. in disyll—Alemanium . 
. Hex. her.; pentam. elegiac.—Distichon ial 

. Hex. her.; hex. wstoveos 

. Tetram. dact. acat. and aneehaliay monom. wink. 


with the anacrusis and ithyphallic.—Archilochium 
quartum . 


. Tetram. dact. acat. aca ithiy phallic monom, ieee: 


with the anacrusis and dact. log. dupl. duplic. troch. 
acat. . . : 


. Tetram, dact. acat. ana ithyphatlic: Verse Pilectous 
. Versus Phalaeceus ; tetram. dact. acat. and ithyphallic 


Two ithyphallics with an anacrusis; tetram. dact. 
acat. and ithyphallic 


. Dact. log. simpl. duplic. troch. acat.; monom. troch. 


acat.; a choriamb. and a dact. log. simpl. duplic. 
troch. acat.—Sapphicum majus 

Dact. log. simpl. triplic. troch. cat. and ace nae 
duplic. troch. cat.; dact. log. simpl. triplic. troch, 
cat. and dact. Angl. duplic. troch. cat. 


If]. Of the Choriambic-ionic kind P 


a 
2. 


Asclepiadeum secundum 
Glyconic; trimet. choriamb. with baste znd fogaced: 
termination . : . . . : . . 


Composition xara teloteyov 
Polymetric Rhythms . . ° 


Cuapter III. — Systematic Composition . 
1, Systems of the double kind i . 
A. Trochaic Systems : : 


233 


234 
235 
235 


235 


236 


236 
237 
237 


238 
238 
239 


240 
241 
24F 


CONTENTS. 


B. lambic Systems 
Il. Systems of the equal bid 
A. Dactylic Systems . ; ; ‘ 
a. Systems of the lyric poets . 
b. Systems of the dramatists . 
' B. Anapaestic Systems 
Strict Systems 
Freer Systems 
III. Systems of the Paconian: kind 
A. Cretic Systems 
B. Dochmiac Systems 
C. Bacchic Systems . 
IV. Systems of the Choriambic-ionic kind 
A. Choriambic Systems 
B. Glyconic Systems 
a. Pure Glyconic Systems 
b. Polyschematist Glyconic Systems 
C. fonic Systems 
a. Pure [onic Systems 
b. Polyschematist Ionic Systems 


CuarTerR IV. — Strophic Composition 
I. Strophes of the double kind 
A. Trochaic Strophes 
1. Dim. acat. 3 t.; dim. cat. 
2. Dim. acat. 5 t.; dim. cat. . 
B. lambic Strophes 
II. Strophes of the equal kind 
Dactylic Strophes ‘ . 
1. Strophe Sapphica 
2. Dact. log. simpl. triplic. biark eee 


ts log. simpl. 
duplic. troch. acat.; dact. log. dual, duplic. troch. 


cat.; dact. log, anole triplic. troch. cat. 


3. Bisons Alcaica . 


4. Phalaecean verse.—Anap. toe Gal. simplic, Sane 
acat. and a choriamb; 2 dact. a simpl. duplic. 


troch. cat. 


5. Dact. log. dupl. duplic. ‘ont: rao with a base? 
dact. log. dupl. duplic. troch. acat. with a basis; 
dact. log. dupl. duplic. troch. acat.; 


simpl. triplic. iamb. acat. 
III. Strophes of the Choriambic-ionic kind 


e 


anap. log. 


KV 


243 
244 
244 
244 
245 
246 
246 
250 
253 
253 
255 
257 
257 


257 


258 
258 
263 
267 
267 
268 


270 
271 
271 
271 
271 
272 
274 
274 
274 


279 
279 


282 


234 


xvi CONTENTS. 


A. Choriambie Strophes 

1. Asclepiadeum tertium 

2. Asclepiadeum quartum : 
B. lonic Strophes : . . 


Cuarrer V,— Choral Composition . 
A. Antistrophic Composition 
I. Antistrophic Songs of the Dorian ie ete, 


Aleman . : is ‘ . < - : 
Stesichorus . : ; : 
Pindar . ‘ ‘ , . ‘ ; 


Dorian Strophes . 

Aeolian Strophes 

Lydian Strophes , ‘ 
II, Antistrophic Songs of the dramutints ‘ 

I, Trochaic-iambice Choral Songs ‘ 
a. Strophes of a trochaic principal rhythm , 
b, Strophes of an iambic principal rhythm . 

II. Dactylic-anapaestic Choral Songs, 

a. Strophes of a dactylic principal dias 
a. Rational Dactyls 
f. Logaoedic Dactyls ‘ 
b. Strophes of an anapaestic principal stigthen 
If. Cretic Choral Songs : : 
Dochmii . ° . : 
IV. Choriambic-ionic Choral Sohys 
a. Strophes of a choriambic principal stiy thes 
Glyconics j ; ‘ ° 
Original Form. . ‘ ; mo 
Polyschematist Form 
b. Strophes of an ionic principal hydhum 
Monodies ; . : 
Koppot and Rosigioucted : 
Parabasis ' 
B. Free Choral Songs 


Inpex ; i , . 


INTRODUCTION. 





€ 


DEFINITION, DIVISION, UTILITY, HISTORY AND LITERATURE OF’ 
THE METRICAL SCIENCE. 


Every work of art contains a suject and a form. The 
idea constitutes the subject; the form is the manner in which 
the idea is revealed tc the senses. 

The material is the substance perceptible by the senses by 
means of which the artist embodies the idea. A material is 
to be apprehended with reference either to space or to time. 
That which receives a form in space is called figure; that 
which receives it in time is called rhythm. 

Although a material as such has by nature a form, yet this 
form is in most cases of no use for the purpose of the artist, 
and has, therefore, to be modified by him according to his 
purpose. He converts the natural into an artistic form. 
The chief quality of every work of art being beauty, the ar- 
tistic figure as well as the artistic rhythm must be beautiful. 
In this case we say the artistic figure has symmetry, and the 
artistic rhythm has euwrhythmy. 

The transformation of the rough material, therefore, into 
an artistic form takes place according to certain general and 
necessary laws, all of which must be derived from the idea 
of beauty. 

In a poetical work of art the substance is the poetical idea, 
but the form in which the poetical idea is embodied, the par- 
ticular kind of poetic composition. 'The material is the lan- 
guage, and its form the rhythm, because the perception of 
language falls in time. The rhythm adapted according to 
art to the words, is called metre. The metrical science there- 
fore, isthe doctrine of artistic rhythm and of its application 
to poctry. 

The metrical science accordingly consists of two parts, a 
general which treats of the idea and laws of rhythm, and a 

1 


2 ‘+ -fIN'FRONUCTION. 


particular which contains the application which the Greeks 
and Romans, with whose metrical art we have here to do, 
made of these laws. 

The study of the metrical art of the ancients has a two-fold 
value. 1. An aesthetic both for the poet who is to derive from 
the contemplation cf the finished form of classical poems the 
same benefit that the plastic artist derives from the contem- 
plation of ancient works of art, and for the reader of Greek 
and oman poets who wishes to understand and judge them 
correctly with reference also to metrical form. This study 
has, 2, an Aistorical value to the antiquarian, since the me- 
trical art as a production of antiquity bears on itself the pe- 
culiar stamp of its origin. ‘To this is to be added, that a 
knowledge of the metres is of essential service to the critic, 
in settling the text of ancient poets. 

Rhythm as a part of music was first treated scientifically 
by the Pythagoreans. We possess single notices only and 
fragments of their doctrine in the writings of Plato and Aris- 
totle. Most important are the fragments of the Elements of 
Harmony and Rhythm by Aristoxenus the 'Tarentine, (in 
Meibom. antiquae musicae auctores VII. Tom. I, and in 
Aristidis Orat. adv. Leptin. ed. Jac. Morellius Venet. 1785). 
Various information is found also in Meibom’s Antiquae mu- 
sicae auctores septem, Amstel. 1652. 2 Tomi 4; in Aristi- 
des Quintilianus de musica (Meibom. a. m. auct. Tom. II. 
in Cicero (Orat. c. 50 sqq.), in Quintilian (Instit. orat. IX. 
A), in Dionysius of Halicarnassus (de compositione verbo- 
rum), in Plutarch (de musica), in Augustinus (de musica), 
Martianus Capella, and others. 

It was not until the Alexandrine age that the metrical sci- 
ence seems to have been treated of separately from music. 
The grammarians confined themselves generally to a careful 
observance of the poetical usage. Aristophanes of Byzan- 
tium, who was the first to divide the lyric poets into zod@ and 
introduce broken lines, Apollonius 0 eSoyoaqos, and others 
deserve credit for their metrical labors. ‘The metrical ma- 
nual of Hephaestion (THcoziavos éyyeroiSwoy meor petowr 
nol monaco ed. 1. C. de Pauw Traj. ad Rhen. 1726, 4; ed. 
Thom. Gaisford Oxon. 1810, 8; Lips. 1832, 8.), Longinus’s 
Prolegomena to the manual of MHepharstion (Hephaest. ed. 
Gaisford, p. 137, ed. Lips. p. 149), and Draco’s work on me- 
tres (Draconis Stratonicei de metris poet. et I. T'zetzae Exeg. 
in Homer. Iliad. pr. ed. God. Hermann Lips. 1812, 8), belong 


INTRODUCTION. 4 


to a later age. The metrical writings of Manuel Moschopu- 
lus (Opuscula grammat. Moschopuli ed. F. N. Titze Prag. 
1822, 8), of Pricha, Elias Charax and Herodianus (Appen- 
dix ad Dracon. Strat. libr. de metr.: compl. Trichae, Eliae 
Mon. et Herodiani tract. de metris graece ex codd. Mscr. ed. 
Fr. de Furia Lips. 1814, 8), are unimportant. Finally the 
metrical Scholiasts are to be mentioned, and among them 
especially Demetrius Triclinius. 

Among the Romans, also, the grammarians occupied them- 
selves much with metrical science. We still possess a poem 
of Terentius Maurus on prosody and metre (in Putsch Gram- 
matt. vett. Lat. p. 2383 sqq.; erent. Mauri de litteris, syl- 
labis, pedibus et metris ex recensione et cum notis Laur. San- 
tenit absolvit D. I. v. Lennep, Traj. ad Rhen. 1825,4). Be- 
sides him are to be mentioned Servius Maurus Honoratus 
(Centimetrum in Putsch, p. 1815 sqq. ed. L. v. Santen Lugd. 
Bat. 1788, 8; ed. F. N. Klein, Confl. 1824, 4), Flavius Mal- 
hus Theodorus (de metris, emend. I. F. Heusinger, Guelferb. 
1755, 4, auct. Lugd. Bat. 1766, 8), Marius Plotius (de me- 
tris liber in Putsch, p. 2623, sqq.), Atidius Fortunatianus 
(de metris Horatianis in Putsch, p. 2671, sqq.), Maximus 
Victorinus (libelli tres de re grammatica, de carmine heroico 
et de ratione metrorum in Lindem. Corp. Grammat. Lat. p. 
267, sqq.), Marius Victorinus (in Putsch, p. 245, sqq.), Di- 
omedes (in Putsch, p. 270, sqq.) and others. 

Richard Bentley was the first of modern philologists to 
make investigations of his own concerning the metrical art of 
the ancients, particularly in his Schediasma de metris Teren- 
tianis (Terentii Comoedia rec. R. Bentley, 1726, 4, Lips. 
1791, 8, likewise in Plauti Rudens ed. Fr. Vol. Reiz, Lips. 
1789, 8), and applied them with great success in criticism. 
Fr. Wolfg. Reiz followed him as regards the metres of the 
Romans. ‘The labors of Benjamin Heath, Rich. Brunck 
and particularly Rich. Porson (especially in the preface to 
his second edition of his Hecuba of Euripides, Lond. 1797, 
Lips. 1824, 8), concerning the metres of the Greek tragedi- 
ans, are meritorious. Corn. de Pauw and Thom. Gaisford, 
also, in their editions of Hephaestion, have done something 
for metrical science. 

Gottfried Hermann was the first to bring forward a scien- 
tific theory of metres, founded upon Kant’s doctrine of the 
Categories (de metris Graecorum et Romanorum poetarum, 
Lips. 1796; Handbuch der Metrik, Manual of metrical sci- 


4 INTRODUCTION. 


ence, Leips. 1799 ; Elementa doctrinae metricae, Lips. 1816; 
Epitome doctrinae metricae, Lips. 1818. Numerous obser- 
vations are scattered in his editions of Greek and Roman po- 
ets, and in his other philological writings. Concerning the 
theory of Hermann compare Apel’s Metrik, part I. § 44—82, 
C. Freese, de Hermanni metrica ratione, Hal. 1829). J. Hf. 
Voss, in his work: Zeitmessung der deutschen Sprache, Me- 
trical system of the German language, Koenigsb. 1802, ad- 
vanced a different theory. He reduces the doctrine of rhythm 
to the doctrine of time in modern music. Aug. Apel in his 
Metrik, Leipz. 1814, 2 vol. 8, and Aug. Boeckh, in his disser- 
tation: On the metres of Pindar, Berl. 1809, adopted the 
theory of Voss. The latter however, formed afterwards a 
theory of his own, founded upon the ancient musicians and 
philosophers, in his dissertation: de metris Pindari in ‘Tom. 
I. Pars IL. of his edition of Pindar: Pindari opera quae su- 
persunt recens. A. Boeckhius, Lips. 1811—1822, 2 Vol. in 
3 Part. 

Besides these many others have written partly on rhythmi- 
cal and metrical science in general, as Cleaver: de rhythmo 
Graecorum, Oxon. 1789, Z. I. Doering: Entwurf der reinen 
Rhythmik, Plan of a pure rhythmical science, Meissen, 1807, 
G. F. Mueller: Ueber den Rhythmus, on rhythm, Coeln, 
1810, W. Lange, Fundamental-Metrik, Fundamental Metri- 
cal Science, 1819, 8, K. Besseldt: Beitraege zur Prosodie 
und Metrik der deutschen und griechischen Sprache, Contri- 
butions to the prosody and metrical science of the German 
and Greek languages, Halle, 1813, £. A. Gotthold: An- 
fangsgruende der griechischen, roemischen und deutschen 
Verskunst, Elements of the metrical art of the Greek, Latin, 
and German languages, Koenigsb. 1820 ;—partly on single 
branches of the science, as A. Seidler: de versibus dochmia- 
cis tragicorum Graec. Lips. 1811, 1812, 2 tom., Karl Lach- 
mann: de choricis systematis tragicorum Graec. libr. IV. Be- 
rol. 1819, Franz Spitzner: de versu Graecorum heroico. 
Accedit dissertatio de media syllaba pentametri Graeci ele- 
giaci auct. Fr. Traug. Friedmann, Lips. 1816, 8, C. Bur- 
ney: 'Tentamen de metris ab Aeschylo in choricis cantibus 
adhibitis, Cantabr. 1810, 8. 

Besides the above named works, much is to be found part- 
ly in separate dissertations, partly in the different editions of 
Greek and Roman poets. A collection of the most common 
rhythms and metres is contained in LE. Munk’s Tabular view 


fd] 


INTRODUCTION. o 


of the Metres of the Greeks and Romans, Glogau and Lissa, 
18238. F. Lindemann: Uebungsbuch zur Fertigung grie- 
chischer Verse, Book of exercises for making Greek verses, 
Dresd. 1825, and £.. 7. Friedmann: Anleitung zur Kentniss 
und Verfertigung lateinischer Verse, Guide to the knowledge 
and making of Latin verses, 3d ed. Braunschw. 1832, are 
deserving of recommendation for writing Greek and Latin 
verses. 


1* 


Pate. a 


te DOC ED RAN Ore Rae ae. 





CHAPTER I. 
Definition of Rhythm.—Arsts.— Thesis. 


Ruyrum, (numerus) as the artistic form of the material 
considered with respect to time, is perceptible either in the 
movement of the body in the dance, or in musical tone in mu- 
sic, or in the articulate sound of speech in poetry. It presents 
itself to us in a succession of small portions or divisions of 
time, which must be so constituted that they may be appre- 
hended by the ear. If they follow too rapidly, they run to- 
gether, and the sense cannot adequately distinguish them from 
each other ; if they follow too slowly, they escape the percep- 
tion, because a division of time, the beginning and end of 
which we cannot seize, is the same as infinite to the hearing. 

Time, and portions of it appreciable by the senses, are con- 
ditions of every Rhythm, even that of nature, as we hear it, 
for example, in the rolling of the thunder, or the murmuring 
of the brook, or the whispering of the leaves. The rhythm 
of art must manifest itself as a whole as the definite form of a 
definite substance ; not only its parts must be limited but it 
must itself have a beginning and an end. Beginning and end, 
here, also, must not follow too closely upon each other, nor 
stand too wide apart; in the former case, the rhythm as a 
whole would not satisfy the ear; in the latter the hearing 
would not be able to grasp the rhythm as a whole. A rhythm 
of art, moreover, as the form of the material whereby a poeti- 
cal work of art is presented to the senses, must be beautiful, 
that is, various in its parts, but in such a manner that this 
variety of the parts may be formed into a unity,—a whole. 
Without variety of the parts the rhythm would be monoto- 
nous, and therefore not beautiful : without unity of the parts, 


8 RHYTHM.—ARSIS, THESIS. 


it would be an aggregate of parts, each of which would be a 
whole by itself. 

Therefore rhythm in general is a succession of portions of 
time perceptible to the senses ; the rhythm of art, is a beauti- 
ful whole, consisting of portions of time, variously following 
each other, perceptible to the senses, to be apprehended by 
the hearing. 

In order to produce a rhythm, there must exist a force 
which divides the uninterrupted flow of time into portions of 
time. This force may operate sometimes more strongly, at 
other times more weakly. ‘The stronger operation of force is 
called the zctus or beat, and the portion of time which is pro- 
duced by such an operation of force is called arsis ; the por- 
tion of time on the other hand, which is the product of the 
weaker operation of force, is the thesis. ‘The sign of the arsis 
is’; the thesis is not marked. By the constant interchange 
of arsis and thesis, variety of rhythm is produced. If thesis 
follows upon thesis, or arsis upon arsis, the variety of the 
rhythm is interrupted, and instead of eurhythmy, arrhythmy 
is produced. Arrhythmy also the poet may frequently employ 
with propriety, as the musician uses discords. ‘The succes- 
sion of arses and arses, or theses and theses, is often only 
apparent. 

A rhythm which begins with the arsis, and descends to the 
thesis, is called falling or sinking; that which begins with 
the thesis and ascends to the arsis, is called rising. The 
former is calmer and more relaxed; the latter, livelier and 
more forcible. 

A thesis with which a rhythm begins is called anacrusis 
or an upward beat. 

Arsis and thesis stand in a mutual relation to each other, 
since the one determines the other. This mutual relation 
renders it possible to comprehend the various parts as a 
whole. ‘That is, the arsis must stand to the thesis in a defi- 
nite and appreciable relation; and this relation in Greek 
rhythms is either equal, 1:1; or two to one, 2:1, or one 
and a half to one, 14:1,3:2. © 

The mutual relation of arsis and thesis extends not only 
to the simplest component parts of the rhythm but also to all 
combinations. ‘Thus arises a whole system of relations, which 
are subordinate to each other. It is not always necessary 
that the relation of arsis and thesis of the simple component 
parts, should be similar to the relations of the combinations ; 


METRE.—LONG, SHORT. 9 


but with regard to the ascending and descending, the latter 
conform themselves to the former. Where this does not take 
place, there occurs an arrhythmy. 





CHAPTER 1k. 
Definition of Metre.-—Long, Short. 


Tue expression of force which, by its stronger or weaker 
intensity, produces arsis or thesis, and separates the single 
portions of time from one another and thereby defines them, 
determines by its extension the duration also of the portions 
of time, and gives them thereby their measure, wétoorv, me- 
trum. In metre, a dong signifies that portion of time which, 
by that expression of force, is extended longer than another 
which is called a short, in the same manner as in rhythm 
—arsis signifies that portion of time on which there is a great- 
er stress than another which ts called theszs. 

The sign for a long is —, for a short v. 

As we found rhythm to be a definite succession of arses 
and theses, so metre is a definite succession of longs and shorts. 
Different metres may be adapted to a particular rhythm: 

/ / In at 
’ ’ : 
and, the reverse, different rhythms to a particular metre : 
/ al 

The constituent parts of the metre, the long and short, 
stand in a relation to each other, similar to that of arsis and 
thesis in rhythm; the one is measured by the other. If we 
set down the short, being the smallest measure of time (e008, 
onueiov, mora) = I, the long is = 2. 

Both measures, long and short, may be variously combin- 
ed, whence metres arise. ‘The simplest combinations of both 
measures are called fect (z0des, pedes). The following are 
the names of the most common feet : 

1. Feet of two times, diyeovor, Sionnor.* 

~~ Pyrrhichius, Pyrrhich. 





* The names of the feet are thus explained: Pyrrhich, from au@éi- 
4H, a war-dance: Tribrach, from reiPeayzus, three shorts; Trochee, 


10 METRE.—LONG, SHORT. 


2. Feet of three times, toryoovol, teionuot. 
vv» Tribrachys, Tribrach. 7 
—v- Trochaeus, Trochee. 
~ — Tambus, Iamb. 

. Feet of four times, zezodzoovol, tetoaoHUOl. 
v~-~ Proceleusmaticus, Proceleusmatic. 
—v-~ Dactylus, Dactyl. 

» —~» Amphibrachys, Amphybrach. 
~~» — Anapaestus, Anapaest. 
— — Spondeus, Spondee. 

4. Feet of five times, wevtayoovol, mev7aonnot. 

» — — Bacchius. 

- » — Amphimacer. 

— — » Palim-bacchius, or Anti-bacchius. 
—vv~ First Paeon. 

» —»~ Second Paeon. 

vv —-~» Third Paeon. 

~»~— Fourth Paeon. 

5. Feet of six times, éSazoovror, Saoquo. 
—-—v-- Sinking Ionicus, (Ionicus a majore). 
~~» —— Rising Ionicus, (Lonicus a minore). 
—»--— Choriambus. 

»—-—~» Antispastus, Antispast. 
—»-—- Ditrochaeus, Ditrochee. 
» —»— Diiambus, Diiamb. 


iw) 


—- — — Molossus. 
6. Feet of seven times, é2zazoovol, éxtaonpot. 
»—-—-— First Epitritus, Epitrite. 


-—»-—-— Second Epitritus. 





from teoyatos, running, swift ; Jambus, perhaps from rézroy, to assail 
or satirize, being used originally in satire ; Proceleusmatic, from zrgo- 
nshevowatizxes, urging or cheering on; Dactyle, from ddxrvdos, tin- 
ger; dmphibrach, from ougifoayug, short at both ends; Anupaest, 
from éydzaorog, struck back, that is contrary to the dactyle ; Spon- 
dee, from ozrovdstog, used on solemn occasions, &v tate oroveuis ; 
Bacchius, from Baxysto¢g, used in Dithyrambic hymns in the festivals 
of Bacchus; Palimbacchius or Antibacchius, Bacchius reversed ; 
Amphimacer, from gupiwazxgos, long at both ends ; Pacon, from zrat- 
wy, asong of praise or triumph; Jonic, from ¢wrexde, Ionian, being 
used especially by the Ionians; Choriambus, composed of a choree 
(trochee) and an 1ambus ; Antispast, from éyrismacrog, drawn con- 
trary ; Molossus, from Modooods, a Molossian; Epitrit, from ¢7- 
toetos, three long syllables, and one short in addition, é7f; Doch- 
mius, from ddyutog, oblique. Trs. 


KINDS OF RHYTHMS. 11 


—-~»- Third Fpitritus. 
— —-—~- Fourth Epitritus. 
7. Feet of eight times, dxzayoovrol, oxtaonwo. 
» --—»— Dochmius. 
~— — — — Dispondeus, Dispondee. 
These feet might also be arranged according to the num- 
ber of syllables, into feet of two, three, four, etc. syllables. 
All these feet are a definite system of times, in which the 
rhythm is undetermined. 





CH A PTE RADI. 


Union of Rhythm and Metre.—Kinds of Rhythms. 


In Rhythm we have a mutual relation of arsis and thesis, 
and in metre a similar one of long and short. If we would 
bring rhythm and metre into harmony, the equality of the 
two relations will be a principal requisite. 

The rhythmical relation of equality, 1: 1,2:2,4:4 per- 
mits the substitution of the following metrical forms : 




















Big Beet eee ee | 2 2/2 4/4 

Falling Rhythms. Rising Rhythms. 
4 7 oe 7 
~~ Pyrrhich. ~~» Pyrrich. 
/ if 
—— Spondee. _. —-— Spondee. a 
nn = ra : 3) 
~~ ~~» Proceleusmatic. as v~ ~~ Proceleusmatic. f > 
, o . 3 
=— 7 Dactyle: ve -Anapaest. 
UZ (4 
—— Spondeus major. 7 —— (7) Spondeus major. 9 


This substitution forms the equal kind, yévog (cor, genus 
par. It is called also the Dactylic, because the Dactyle be- 
longs here as the principal foot. The character of the equal 
kind is uniformity, repose and dignity. 

The relation of thesis and arsis may also be that of the dou- 


1 KINDS OF RHYTHMS. 


ble: 1:2,2:4,4:8. Corresponding to this is the relation 
of the double in metre: 








ioe. 2 ae a 2 | 1 8 4 
v vu A v = aoe =, vv y —_ ve — a 
Falling Rhythms. Rising Rhythms. 
aa al 
vv» Tribrachys ab arsi ~~~ Tribrachys a thesi. 
/ / 
-~- Trochee ~— Jamb. 
Uf / 
—- Trochee semantus. — — Orthius. 


This substitution gives the double kind, yevog Sizdacuor, 
genus duplex, or the Iambic. 
al 
In the rising rhythm ~~~, the first portion of time is zn 
thesi, the other two are in arsi. The two portions of time of 
the arsis, considered by themselves, have again a relation of 
intensity, and indeed that of equality, because the relation of 
extension also is that of equality, and because the principal 
relation of the whole rhythm is rising, this subordinate one 
is also rising. ‘The arsis falls therefore on the second portion 
of time in the second principal division : 
bo tal, 





t. a. 

Of these three portions of time, accordingly, the third will 
have the greatest intensity, because a part of the ictus of the 
chief arsis, and a subordinate arsis are united in it. By this 
strong intension of one portion of time the equilibrium be- 
tween arsis and thesis, towards which every rhythm tends, is 
to a certain extent restored, for what is wanting to this divi- 
sion in extension, is made up, though not completely, by in- 
tensity. At the same time a gradual ascent from the weaker 

CE A 
to the stronger ~~~ is hereby effected; the first division of 
time is, both in reference to the whole rhythm, and in refe- 
rence to the second division in thesi ; the second division of 
time is stronger, because in relation to the first it is 7m arsz, 
but the third is the strongest, in relation to which the second 
stands in thest. 

In a similar manner, in the falling rhythm, the first part 


KINDS OF RHYTHMS. 13 


will have the strongest intension, because in it a part of the 
principal arsis is united with the subordinate. 


ast IPS 

and here also there is an effort after equality, and a gradual 
sinking from the stronger to the weaker. In the reading of 
such rhythms this must be carefully observed. For example, 
if homine stands for an iambus, it is an error to raise the se- 
cond syllable by the strongest ictus, a3 1s commonly done ; 
the first syllable, on the contrary, receives the least stress, the 
second somewhat more, the third the most, and the reverse, 
where homine stands for a trochee. 

The inequality of the times, and the arsis with the greater 
stress, give to the double kind, the character of animation 
and mobility. 

From the equal and double kinds, two different species 
have again been composed, in which either the double is 
adopted as the leading relation of intensity and extension, and 
the equal, as the subordinate; or the equal as the leading re- 
lation, and the double as the subordinate. 

To the first species belong the lonic Rhythms. 








Falling Rhythms. Rising Rhythms. 
aia = t22 ae — = a:4 
‘gee eas 
ates ee ea | i (Ta: 1 ete 
eee woo oe To- a — To 
nicus a majore. nicus a minore. 


To the second the choriambic and antispastic : 








Falling Rhythms. Rising Rhythms. 
aco =. +23 te. = Cas 
ce ote: as t:l—a:2/a:2=—t:l 
— — Chori- _ — — - Anti- 
ambus. spastus. 


In the Ionic a majore the spondee is in arsi, the pyrrhich 
in thesi. In the spondee, the first long is in arsi, the se- 
cond in thesi, and in the pyrrhic the first short in arsi, the 
second in thesi; consequently the first long of the Ionic, has 

LEE APT 
the strongest intension: ——v+-. Inthe ionic a minore the 
2 


14 KINDS OF RHYTHMS. 


relation is the reverse. In order to restore the rhythmical 
equipoise, in the ionic a majore, the first, in the ionic a mi- 
nore the second long, have to supply by their intension an 
extension of two shorts; but since this is not possible, both 
rhythms are deficient in rhythmical completeness. 

Also, the choriamb and the antispast, are arrhythmic, be- 
cause the subordinate relations are opposed to the princi- 
pal relations: yet, in the antispast there is effected a forcible 
arrhythmy by the concurrence of two arses, which is often 
very well applied. No verses however have been composed 
of the antispast, but it has only been used singly, and the cho- 
riamb is frequently dactylic, and then entirely rhythmical. 

A third kind of rhythms is produced by the relation of one 
and a half to one between the arsis and thesis: 15:1, 3:2. 























ve ae ss oe aimee § Spa Nt vunv os Ne — NA) ae 
Falling Rhythms. Rising Rhythms. 

Aa ee to ee ae 
ao OO —_—a_—oF OO 
a:2—t:1/a:l=—t:1 t:l—a:1/ t:l—a:2 

vue vy  Creticus ve » vv Creticus 

~~ a.majore, te ~~ a minore. 
ae ja EES te c= a3 
sS -oO _—_T OO 
t:l—a:2|a:1—t:1 a: l—t:1 | a:2—t:l 

ae By Bac- ad ve @) Palais 

ai Fe chius.| et bacchius. 


This kind is called the three half, yévo0¢ 7jutddtor, genus ses- 
quialterum, or paeonic. In the falling cretic, the first arsis, 
in the rising, which cannot be found, the second arsis, has the 
strongest intensity. ‘The rhythmical equipoise is restored by 
the iambic intension of the first long, which makes up for the 
one short, which is wanting to the extension. ‘The middle 
syllable is in thesi, with respect to the first long; the second 
long is in thesi with respect to the trochee, but in arsi with 
respect to the short. The ictus of this long bears the same 
relation to that of the first, as the dactylic to the trochaic. 
On account of the inequality of the times and the falling and 
rising of the rhythm, the cretic is of a light and lively charac- 
ter. 

The bacchius is arrhythmic on account of the opposition 
of the rising and falling in the principal and subordinate re- 


KINDS OF RHYTHMS. 15 


lations. It is therefore not used, except in a few passages of 
the tragedians. The elder Roman dramatists used it more 
frequently. ‘he palimbacchius is equally arrhythmic, and 
occurs neither in the Greek nor Roman poets. 

Besides these three kinds of rhythms, there is still another, 
but which was early rejected by the ancients, namely, the 
yévog émizo.tor, or genus sesquitertium, or the epitrite kind 
in which the relation of intension and extension was 14: 1, 


£23, 826. 














3 4 3 | 4 oO (vt 4 3 7: EN Nie, die Sa as 
E peemh ere aera ic ace OO |e ae aye ey Bilas eagle tec een | eae 
Falling Rhyihms. Rising Rhythms. 

a:4 = t:3 t:3 = a:4 
————S ee ee Pic eh es OP open imme 
a:2%—t:2:a:2—t:1 t: lm=a:2|/t:2—a:2 
ee ess | oe OIE) er ee tats 
SERS a Se As ae ed t 

Ata “Se fs 3 tos S74 
aa toe SLs eS aaa 
t:2—=a:2/t:l—a:2 ait ares 1l/a:2=t:2 








» wy Mpitritus, ~~ + ee omit ie 
‘aap 1 ee — IIL. wk ae ae i, 


In poetry this kind is no more to be found. 


We may also divide the different rhythms according to the 
number of times, of which its fundamental foot consists. 
I. Rhythms whose fundamental foot consists of three times. 
a) falling, trochaic ; 
b) rising, iambic. 
II. Rhythms whose fundamental foot consists of four times; 
a) falling, dactylic ; 
b) rising, anapaestic. 
If. Rhythms whose fundamental foot consists of five times; 
a) falling, cretic bacchiac. 
IV. Rhythms whose fundamental foot consists of six times; 
a) falling choriambic, ionici a majore ; 
b) rising, ionici a minore. 
A foot in which a rhythm is established, is called a metre. 
A series of equal metres is called a simple rhythmical se- 
ries (ordo rhythmicus simplex). 
The metres also stand in the relation of arsis and thesis. 
In the double kind, two feet (d:zod/a, ovtvyia) always form 
a metre. ‘The reason of this lies in the tendency towards the 


16 KINDS OF RHYTHMS. 


relation of equality. There is produced by this an equal 
principal relation of arsis and thesis. 
C9 eel OES hie ss 


—_— Vv — Ye? See "ll 


P] 

In the trochaic dipody, the first arsis will have in relation 
to the second a stronger intensity, because a part of the prin- 
cipal arsis is united in it with a subordinate one. For the 
same reason, in the iambic dipody the second arsis has the 
stronger intensity. ‘This must be carefully observed in read- 
ing such series. . 

According to the analogy of the equal kind, two anapaests 
may also be united in a metre or a dipody. In all the other 
measures, each foot forms a metre by itself. 

A rhythmical series may consist either of one metre, a mo- 
nometer ; of two metres, a dimeter; of three, a trimeter; of 
four, a tetrameter ; of five, a pentameter; of six, a hexameter. 
Longer rhythmical series do not occur. 

Trochees, iambs, and anapaests are not to be always mea- 
sured according to dipodies, or metres. The feet are often 
arranged singly. A series of one foot is called a monopody ; 
of two feet, a dipody; of three, a tripody ; of four, a tetrapo- 
dy ; of five, a pentapody ; of six, a hexapody. 

The iambic, trochaic, and anapaestic tetrapodies and hex- 
apodies, are distinguished from dimeters and trimeters by the 
beat. 


aoe =» Letranatroch: v—v—v—~— Tetrap. iamb. 
—»-—~»|—+—~ Dimet. troch. v=» —|-—»+— Dimet. iamb. 
BG EG MGS OIG ROARS, Hex. troch. ae as — ae ti PLEX. jamb. 


, 


—v-v|—v—~ Tri. troch. y+ —|»—+—|+»—+— Tri.iam. 

If we assume the short at } beat, the iambic and trochaic 
tetrapody is — 1,7, the trochaic and iambic dimeter = & beat, 
the trochaic and iambic hexapody = 18, the trochaic and 
iambic trimeter — © beat. Likewise the trochaic pentameter 
and hexameter have § beat; the trochaic and iambic tripody 
2; the pentapody 1° beat. 

If also we assume in the dactylic kind, the short at 4 beat, 
then the dactyle and anapaest, as metre, correspond to our 
2 beat; the anapaestic dipody, to our £ beat. The cretic is 
similar to our 2 beat; the ionic and choriambic rhythms, to 
the 2 beat. 


, 
=_ “ = 





IRRATIONALITY, MIDDLE TIME. 17 


CHAPTER IV. 


Irrationality, Middle Time. 


A relation which is measurable by the unit, is a rational 
one (67z6v). But there is also an irrational (cdoyor) rela- 
tion which cannot be measured by the unit. The irrational 
time in rhythm stands between the arsis and thesis, in metre 
between the long and the short. If we set down the thesis 
—1,the arsis = 2, the irrational time is=13. In lke 
manner in metre, where the short is = 1, the long — 2, the 
middle time is = 13. The middle time, when standing for 
the short of the thesis, is marked | . 

Trrationality takes place in the double kind in the thesis, 
in the equal in the arsis. 'Thus from a trochee ~~ a yogetos 

fare 
zoozostdng, so called, —~ arises, and by the solution of the 
In / 
arsis v » —the ¢rochoidic anapaest ; and from an iamb» — the 
bale 6 
yoosios tauBoetdyg » — , and by the solution of the long of the 
al 
arsis —v~ the zamboidic dactyl. In all these feet the arsis 
has two times, and the thesis one and a half. In consequence 
of the increased extension of the thesis and the diminished 
intensity of the arsis, the irrational trochee and iamb approach 
the anapaestic and dactylic rhythm. 

If in the dactyl and anapaest the arsis is shortened by a 

We2 2h 
half time, —~-», -~»—, we obtain what is called the light 
or irrational dactyl and anapaest. What the arsis has lost 
by extension, is to be made up by an increased intensity, in 
order to restore the equilibrium between arsis and thesis. 
Thus the rhythm of irrational dactyles and anapaests ap- 
proaches the trochaic and iambic rhythm. 

With regard to the application of irrational feet, the follow- 
ing is to be observed. 

The last foot of a trochatc and the first of an iambic series 
may become irrational. The middle time, therefore, can take 
place in a trochaic dipody only in the second foot, and in an 
iambic in the first : 

Ox 


18 IRRATIONALITY, MIDDLE TIME. 


4 = ene Oh 

In the first trochaic dipody the first foot is in arsi, the se- 
cond in thesi. The arsis of the first foot receives from the 
principal arsis a part of its force, and is, therefore, stronger 
than the arsis of the second foot. ‘This intensity would be 
impaired, if the thesis were increased by the irrational mea- 
sure; but it is heightened when the second arsis is weakened 
by the increase of its thesis. In the iambic dipody the se- 
cond iamb is in arsi, and its arsis has, therefore, the strong- 
est intensity, which would be weakened by strengthening its 
thesis ; it is increased by the arsis of the first iamb being 
thrown into the back ground by the increase of its thesis. 
Hence follows the law that in trochaic series, which are to be 
measured by dipodies, the middle time occurs in the even 
places (in sedibus paribus: 2, 4, 6,8), in iambic series in 
the odd places (in sedibus imparibus: 1, 3, 5, 7). 

In the trochaic tripody : 


the first two feet are in arsi, the third in thesi. The first foot 
has the strongest arsis, the second a weaker one, because with 
reference to the first it is in thesi, and the third the weak- 
est, with reference to which the second is in arsi, and in or- 
der to mark this weaker arsis the middle time may be ad- 
mitted in the thesis. ‘The same is the case in trochaic series, 
to be measured by feet, which consist of more than three 
feet. 
In the iambic tripody : 


the first foot is in thesi with reference to the following two; 
hence it requires the feeblest arsis, and its thesis may, there- 
fore, admit the middle time. The second foot is with refe- 
rence to the first in arsi, and its arsis is, therefore, not to be 
weakened, and still less the arsis of the third foot, with refe- 
rence to which the second is in thesi. In a similar manner 
in longer iambic series, which are to be measured by feet, 
the middle time is admissible in the first foot only. 


IRRATIONALITY, MIDDLE TIME. 19 


The irrational time, unless it be admitted at the commence- 
ment or end of a series only, enables us to distinguish the 
rhythms composed by dipodies or metres from those compos- 
ed of feet. On the other hand we cannot infer from the ab- 
sence of the irrational time that the rhythm should be mea- 


sured by feet and not by dipodies. —-»-—»-—~-—v~ is a trochaic 


dimeter; —-—»—»-—~ may be a dimeter as well as a tetrapo- 
dy; some other criteria are to be found in order to decide for 
the one or the other. For the poet may, according to his 
pleasure, admit or not admit the irrational time. By the ad- 
mission of the middle time, trochaic and iambic series be- 
come slower. 

The dramatic poets of the Romans, previous to Augustus, 
admitted the middle time in every foot of sambic and trochaic 
series, with this exception, that they preserved pure the last 
thesis of every series, after which one more arsis followed. 

The iambic anacrusis of one syllable may, according to the 
analogy of the iambic thesis, become irrational : 

—. 
and equally so the monosyllabic concluding thesis of each 
series, according to the analogy of the last short of a trochaic 
Series : 

j = 

It is also, with certain limitations, allowed to put in tro- 
chaic series in all places, the irrational dactyl for the trochee, 
and in iambic series, the irrational anapaest for the iamb. 

Irrational dactyles are distinguished from rational by a 
quicker movement, similar to trochees. They unite readily 
with trochees, and are then called logavedic dactyls. The two 
shorts of an irrational dactyl are but rarely contracted. 

The irrational light or cyclic anapaests resemble, by their 
quicker movement the iambs, with which they are therefore 
frequently united, and are called logaoedic anapaests. The 
shorts of such anapaests are never contracted. 

There is a singular license which sometimes occurs in the 
final dactyl of a dactylic series, a long being used in the place 
of the second short -yy—-vy—+~—v+~. That such a time 
cannot be irrational is apparent from the following remarks: 


20 MOVEMENT, RESOLUTION, CONTRACTION. 


1) according to what has been said above, irrationality in 
dactyls takes place in the arsis only; 2) by the same right, 
the first short of the first anapaest in anapaestic series, which 
are inverted dactylic series, and according to the same analo- 
gy the first short of the anacrusis of two times might be irra- 
tional, which, however, is not the case; 3) as in iambic and 
trochaic series the irrational time may occur at the com- 
mencement or end of each dipedy, so the same ought to take 
place in dactylic series at the end of each foot, which like- 
wise is not the case. We see, therefore, that the admission 
of the long inthe final dactyl is nothing but a license, which 
as such requires no explanation ; moreover it is not very fre- 
quent. 





eg A aoe Th et | Ve a 


Movement, Resolution of Longs, Contraction of Shorts. 


By movement (ayoyn, ductus) we understand the absolute 
duration which is given to the parts of time. Rhythmical 
series can be delivered in different movements. ‘The con- 
tents determine the delivery. Indications of the movement 
lie partly in the rhythm, partly in the metre. In general the 
equal kind requires a slower, the double a quicker movement. 
Series which are to be measured by dipodies should be deliv- 
ered more slowly than those measured by feet. 

In metre resolved longs indicate greater quickness; con- 
tracted shorts a slower movement. 

With regard to resolution and contraction the following 
rules are to be observed: Every long of two times can be re- 
solved into two shorts An irrational long, therefore, of one 
short and an half is incapable of resolution. The older Ro- 
man poets make an exception in this respect, by sometimes 
resolving even an irrational long. 

In the dactyl the long is not resolved, with the exception, 
in lyric poets, of a few proper names. ‘The dignity and com- 
posure of the dactyl would suffer by the rapidity of four 

aan rn 
shorts, v ~»~ or the violence of an anapaestic form, »»—. For 
the same reason in anapaests of certain kinds the long of the 


ADAPTATION OF RHYTHM AND METRE. 21 


arsis is not resolved; the dramatic poets, however, allow 
nl nl 

themselves the resolutions, -vv, vvv~. 

In a similar manner the cretic receives by means of the 

IN 
resolution of the first long, a more lively impulse v v »— (Pae- 
on quartus), by the resolution of the second arsis a comic fall 
/ n 
—-»~- (Paeon primus), and by the resolution of both, the high- 
an a 

est degree of rapidity,» »v»». So in other rhythms. 

The contraction of two shorts into one long is allowed only 
when the shorts belong to one relation of intensity and exten- 
ston, because otherwise the rhythm would be destroyed, it 
being impossible to mark in one and the same syllable the 
end of one and the commencement of another relation. Thus 
it is allowed to contract 


a t 
AN rr 
at Hi | 


ww wy 


into — —, but not intov—v; in the same manner, 
Da 


YN 

at 

into — -, but not intoy—; and 
ta 

c~“~ 

La 


vvwvy 


into vy —, but not into--». 





CHAPTER. Vi. 


The mode in which the Ancients adapted Rhythm and Metre 
to Words. 


Tue words are the material of the poetic work of art, in 
which rhythm, as the form, is to become perceptible. With 
the exception of some small words, which in the connection 


aby ADAPTATION OF RHYTHM AND METRE. 


of speech are either subordinate as an anacrusis to a follow- 
ing arsis (atona), or follow as a thesis a preceding arsis, (en- 
cliticae), every word has its own natural rhythm which is 
made known by its accentuation. That is to say, the ac- 
cented syllable stands in arsi, the toneless in thesi. Each 
syllable, also, of a word, has its definite metre, its quantity, 
which depends sometimes on the vowel and sometimes on the 
consonant that follows the vowel. ‘The doctrine of word- 
rhythm, or the doctrine of accents, and the doctrine of word- 
metre or the doctrine of quantity or prosody, is presumed to 
be known from the grammar. 

The word-rhythm, being the metrical rhythm, is given to 
the poet with the word itself. The rhythm of verse or the 
rhythm of art, he forms for himself, and adapts the words to 
it. Now either the verse-rhythm may be brought into har- 
mony with the word-rhythm, so that an arsis of the verse- 
rhythm falls upon the arsis of the word-rhythm, that is on an 
accented syllable, and thesis in like manner upon thesis, or 
both rhythms go along independently beside each other. The 
former, as the more natural and easy, is found in the rhyth- 
mical compositions of almost all nations of modern times. 
This harmony of both rhythmical systems is even necessary 
in languages, where, as in German and English, the quantity 
of syllables for the most part depends on the accent. A more 
artistical management of the verse-rhythm, induced the 
Greeks to neglect the coincidence of the two systems. ‘The 
mode in which the Greeks adapt the words to the verse- 
rhythm, is as follows. The natural rhythm of the words they 
leave entirely out of view; on the other hand, the relation of 
extension in the word-rhythm they bring into harmony with 
the relation of extension in the verse-rhythm. Where the 
metre requires a long, they place a long syllable, or accord- 
ing to preceding conditions, two shorts ; where a short, a 
short syllable. ‘['wo shorts can, in the cases above specified, 
be represented by a long syllable. A middle time of an irra- 
tional trochee or iamb, may be marked by a long or short 
syllable at pleasure ; a middle time of an irrational dactyl or 
anapaest, only by a long syllable. 

The poets, especially the Epic, allowed themselves many 
licenses in prosody; particularly proper names, and those 
words for which others could not be substituted, must have 
made claim to a greater indulgence. (Comp. Matthiae’s Gr. 
Gr. § 7—11). 


ADAPTATION OF RHYTHM AND METRE. 23 


The word-accent is not destroyed by the accent of the 
verse-rhythm. But the mode by which the Greeks rendered 
the former audible along with the latter we cannot settle with 
certainty. 

In the Latin language, the verse-rhythm depended origi- 
nally upon the word-rhythm. The Romans afterwards adopt- 
ed the doctrine of quantity from the Greeks, and so gave to 
their language the power of departing from the word-accent 
in versification. But they could not wholly withdraw them- 
selves from the dominion of accent until the Augustan age. 
In the earlier poets, especially in Plautus and Terence, the 
influence of accent is not to be mistaken. 

Of the skill with which individual poets availed themselves 
of rhythm for poetical delineations, examples will be given in 
the second part. It was not however rhythm only which served 
this purpose, but the element of melody in speech, the sound 
of single tones, syllables and words. Under this head we 
reckon alliteration, annomination, rhyme and assonance. 
Used moderately and without forcing, these are often of no 
small effect ; for example, when Homer paints the rending of 
the sails by the tempest, Odyss. IX. 71. 


totia O€ ogy 
Towa ve nat ceroayOa Siéozicer ig avepouo ; 
or Lucretius the sound of drums, cymbals and horns, II. 619. 


Tympana tenta tonant palmeis et cymbala circum 
Concava, raucisonoque minantur cornua cantu ; 


and in like manner Virgil, the braying of trumpets, Aen. IX. 
503. 


At tuba terribilem sonitum procul aere canoro ; 
or Ovid the croaking of the frogs, Met. VI. 376. 
Quamvis sint sub aqua, sub aqua maledicere tentant. 


Plautus is especially fond of alliteration and annomination. 
In Ennius, this poetical painting sometimes degenerated into 
conceit; e. g. 

At Tite, tute, Tati, tibi tanta, tyranne, tulisti. 
Multarum veterum legum divumque hominumque. 


The ancients were not acquainted with the use of rhyme 
and &ssonance, as we find them in modern poets, Where 


24 ADAPTATION OF RHYTHM AND METRE. 


rhymed verses or hemistichs are found, the rhyme for the 
most part is accidental; e. g. Aesch. Pr. 866, 867. 

Keeiva ovvevvor, GAN anauBhoyOyoerot 

Trouyy* Svoiv dé Pareoor Bovdyocetaa, 
Hor. Ep. I. 12, 25. 


Ne tamen ignores, quo sit Romana loco res. 

But perhaps Virg. Ec. VIII. 80, is not wholly without design; 
Limus ut hic durescit, et haec ut cera liquescit, 

and the well known lines, quoted in the Life of Virgil ; 


Hos ego versiculos feci, tulit alter honores. 
Sic vos non vobis fertis aratra boves. 
Sic vos non vobis vellera fertis oves. 
Sic vos non vobis nidificatis aves. 
Sic vos non vobis mellificatis apes. 


The accumulation of words of like termination has often a 
decided effect, as Hom. I]. XXIII. 116. 
4 of 
Tloida 8 tvarta, xararta, méoaurte te, Soymie T HAPor. 
Such verbal rhymes frequently produce a comic effect; e. g. 
Aristoph. Nub. 709 sqq. 
"Anolduus Sethawg* & tov oxtumodog 
Aaxvovot w eéomortes ot Kogiydvot, 
Kui ras adevoas Sapdanrovow, 
Kai tyy wryny éunivovow, 
Kai tovs oozes &&éhnovow, 
Kai tov rowuror Swopvrtovow, 
ze Ue > Pd ~ 
Kai uw anohovow. 
Pax. 339 sqq. 
~ 4 ~ 
Kai pokze nai yehar’, 4 — 
\ bh ad 7 nn eee 
An yao eSeotat ToD viv 
TNheiv, weve, niveiv, nad evdeuw, 
Es mavyyvoes Oewety, 
Eoracda, xorrapiven, 
Svpugilew 


7 ~~ , 
Lov lov xExouyercet. 


SERIES, STOP, PAUSE. 25 


Plaut. Amphit. V. I. 10. 
Strepitus, crepitus, sonitus, tonitrus, ut subito, ut propere, 


ut valide tonuit. 


The rhymed Latin verses, called Leonine, are an inven- 
tion of a later period. 





CHAPTER Vit. 


Series, Stop, Pause, Acatalezis, Catalexis, Syllaba anceps: 


A simPLe rhythmical series comprises, according to Chap. 
III., a number of like metres or feet, which stand to one an- 
other in the relation of arsis and thesis. Series are separated 
from one another by the cessation of the voice. Such a ces- 
sation is called a stop. The stop is not absolutely necessary. 
Series may follow one another without the intervention of a 
stop. A stop is not proper in the course of a series. 

It is not in itself fixed how many feet or metres belong to 
a series, but if the series is to be perceptible by the sense, it 
should be limited to a moderate number, commonly not ex- 
ceeding six. A series, the number of whose feet is once for 
all times determined, cannot be either lengthened or shorten- 
ed without ceasing to be the same series. But in rhythm, as 
in music, one or more times may be passed over in silence, 
which are, however, to be taken into account in counting 
the measure. Whenever this takes place, the voice must 
stop, and this stopping is called a pause. The pause differs 
in this respect from the stop, that the former is counted in 
the time, and is, therefore, an essential part of the rhythm ; 
but the latter les without the time, and does not belong to 
the rhythm. In the course of a series a pause is not allowed. 
Moreover there cannot be a stop in the middle of a word, be- 
cause thereby the unity of the word would be destroyed ; 
hence the law: where there is a stop or a pause, there must 
be the end of a word. 

Rhythms apparently incomplete arise from pauses, because 
they seem to want one or more times; and since pauses can 
occur at the end of arhythm only, and are, therefore, the 
sign of the close (clausula, xazuAnSi¢), such series, apparent- 

3 


26 SERIES, STOP, PAUSE, ACATALEXIS, 


ly incomplete, are called 6vO moi xatadyztixol, ordines cata- 
lectici, catalectic series; and the reverse, complete acatalectic 
series, d6uyOuol axatadyxtot, ordines catalecti. 

Tn designating the catalexes, not the wanting, but the re- 
maining syllables of the last foot are considered. Thus a 
dactylic series, the end of which is shortened by one syllable : 
—~v—v-v-—~ is called a catalectic series in disyllabum, and 
one that is shortened by two syllables: --~»-~~+—-, a cata- 
lectic series in syllabam. Acatalectic series are, therefore, 
those the number of whose syllables has not been diminished. 

ae) he Landed ae 
The following iambic series vy —-vy —v —v —v -~~ is, therefore, 
to be considered acatalectic, although it is necessary to ob- 
serve a pause of one time. 

The brachycatalectic series, so called (6v0uor Boayuxa- 
TeAnztot, ordines brachycatalecti), in which the pause of an 
entire foot is to be observed, are an invention of grammarians 
who imagined that all trochaic, iambic, and anapaestic se- 
ries must be measured only by dipodies. They considered, 
for instance, — »—»—~ a dimeter trochaicus brachycatalectus, 
while the series is in fact a tripodia acatalecta as the second 
trochee, which is always rational, shows. 

The grammarians have called those which have one or 
several times too many, hypercatalectic series (Gud pot UmEO- 
xatahnzTOo1, ordines hypercatalecti). Such series, apparent- 
ly too long, have arisen from the circumstance that the ana- 

af =f 
crusis was prefixed to the rhythm; ~—-~—--—-»-—~ is, there- 
fore, not an hypercatalectic iambic dimeter, but a trochaic 
dimeter with the anacrusis; or that different series of a like 
ee 

kind were united ; -~—», —v—~-—, isnot a dimeter trochai- 
cus hypercatalectus, but a trochaic monometer joined to a tro- 
chaic catalectic tripody. 

The catalexis serves to mark the close of a rhythm. When 
rhythms want a suitable close, it 1s effected by the omission 
of one or more times. But rhythmical series, which of them- 
selves have a close, receive, generally, the catalexis only, 
when the series is to be connected with another, and the 
close to be done away with. 

It is preferred to close the series more forcibly with the 
arsis; the catalexis is, therefore, common in those rhythms 
which, if complete, commence with the arsis and close with 


CATALEXIS, SYLLABA ANCEPS. Q27 


the thesis; it is more rare in those which commence with 
the thesis and terminate in the arsis. 

Trochaic series end with the thesis; the catalexis (in syl- 
labam) is, therefore, common with them. The catalexis is 
more rare in zambic series, because they end with the arsis. 
The dactyls are altogether without a close, because they 
close with two times in thesi; they occur, therefore, rarely 
acatalectic. ‘The catalectic dactylic rhythm ends either with 
the short, catalecticus in disyllabum, or with the long, cata- 
lecticus in syllabam. The former close, because it termi- 
nates in a thesis, and is on that account less forcible, is called 
feminine, the latter masculine. Anapaests are generally aca- 
talectic, because they close with the arsis. The catalexis in 
disyllabum does not occur, because the rhythm would then 
be destitute of a close; the catalexis in syllabam resembles 
that in disyllabum of the dactyl. 

The cretic ends mostly acatalectic ; the catalexis in disyl- 

/ i= 
labum —~—-—v~ occurs, though rarely; the catalexis in sylla- 
bam, — -—— usually transforms itself into a trochaic rhythm, 
ve eee 
—v--. In the choriamb the acatalexis is most common ; 
the catalexis in trisyllabum, ~»»——v~ is not usual on ac- 
count of the absence of a close; the catalexis in disyllabum, 
0 Li 
—v-—--~ occurs, although rarely ; the catalexis in syllabam, 
/ / / — 
—-»-»-—-— transforms itself into a dactylic rhythm, ----—~. In 
the ionic a majore, the catalexis in disyllabum alone is used: 
LO? Sod Te Upliwe 
——-vy——vy——v+—-—; in the tonic a minore, the catalexis 

Tas: V (amy / 

in trisyllabum: vy --vy—-—~e—. 

Where at the close of a series a stop, or, with the catalexis, 
a pause is made, there it is allowed to put a short for a long, 
in which case, as the voice can stop, a pause equivalent to 
the wanting time is observed : 

mei, el rae , x 
On the other hand, in verses which consist of united series, 
the long at the end of a series which is not the concluding 
series of the verse, cannot be changed into a short, with the 
exception of the asynartete verses, of which hereafter. 


28 COMBINATION, VERSE, HIATUS. 


According to Chap. IV, every monosyllabic closing thesis 
may, according to the analogy of the opening thesis or ana- 
crusis, be considered irrational, and the short may be ex- — 
changed for along. ‘This liberty is used in the feminine ca- 
talectic terminations of dactylic, anapaestic, cretic, and cho- 
riambic rhythms. ‘The transmutation of a short into a long 
is allowed not only at the end of the closing series in a verse 
consisting of several united series, but also at the end of each 
series, even in the middle of a word. 

Thus the last syllable of every unconnected series is unde- 
termined ; along may be put for a short, as well as a short 
for a long. 

The final long syllable for which, according to what has 
been said above, a short may be put, is called sy/laba anceps, 
ovdduby adiagqogos. ‘The mark is Y . Where a syllaba 
anceps can take place, the long is not allowed to be resolved 
into two shorts, because it might then appear as if the two 
shorts stood for a long. 

The syllaba anceps is not to be confounded with the mid- 
dle time. A middle-timed short is longer by a half time than 
a rational short, and a middle-timed long is shorter by a half 
time, than a rational long; hence where a short stands for a 
middle-timed thesis, a long which then is — I4 times, may 
be put. The middle-time takes place at the commencement 
and end of every series, even the united series; the anceps 
at the end of the closing series only. It is not necessary that 
the middle-time should be the end of a word ; the anceps can 
occur at the end of a word only. 





CHAPTER. WV Ile, 
Combination of Series. Definition of Verse. Hiatus. 


SeveRAL series may be united together and formed into a 

whole, and they may be either of a like kind, for example 
=f, iF =f 

three iambic monometers vy—v—v—v—-—v—~— (iambic tri- 

meter); or dissimilar, for example a trochaic monometer 

th — oa 


with a dactylic logaoedic series, -y-»—»+—»—~ (Sapphic 
verse). 


COMBINATION, VERSE, HIATUS. a0 


The principal requisite of beautiful rhythm we have stated 
to be the constant interchange of arsis and thesis; hence, 
if series are combined, when the one ends with the thesis, 
the other must begin with arsis, and the reverse. But if, 
by the combination, arsis and arsis, or thesis and thesis, come 
together, an arrhythmy is the consequence, even though 
the series themselves may have the highest metrical perfec- 
tion. The ancient grammarians called such measures uézoa 
nar avrimadsav wizta; yet, misled by false measurements, 
they reckoned many such, which are not so, 

The concurrence of two arses produces a strong arrhyth- 
my, and is therefore often used with great effect for the rep- 
resentation of passion, of sorrow, of despair, in general of 
every state in which the harmony of the soul is disturbed ;— 
for the imitation of discordant noises, and the like. The 
shortest form of such a composition consists of the antispast 


Mam oe VY 


When two longs concur, there is not always, of necessity 
an arrhythmy. Often one long is in thesi: 


_—~/ , 4 


bd 
or even if both longs are in arsi, the thesis is often supplied 
by a pause falling between, as in the elegiac pentameter ; 
/ Pete, 

If two theses come together, then also the variety of the 
rhythm is interrupted; and as in this case a feeble arrhythmy 
ensues, such a composition is of an undignified character, 
and therefore more rarely used. ‘The fundamental type of 
such a composition is the choriambus — » |» ~. 

A series, we have above defined to be a combination of 
equal feet or metres, which stand to each other in the rela- 
tion of arsis and thesis. The limit in the series is not essen- 
tial; we may conceive a series to be lengthened by one or 
more feet, without its ceasing on that account to be a series. 
The alternation of the feet may even be extended to infinity ; 
then indeed the series would cease to be limited, but it would 
nevertheless continue a series. In the definition of a verse, 
on the other hand, a definite limitation is the essential point, 
and the verse may consist of a single series or of different 
series. Hence it follows, that verse (oziyog, versus) is a 
rhythm, limited in itself, determinately separated from others. 
The Greek word oziyos, which indicates a limited extent in 

3* 


30 COMBINATION, VERSE, HIATUS. 


length, a line, is used metaphorically of a limited rhythm, a 
verse. 

At the end of the verse, there may always be a stop: hence 
at the end of the verse the anceps is unconditionally allowed. 
Further, the stop at the end of the verse, justifies the hiatus 
also (yaoumdia), that is, the succession of two vowels, one 
of which closes one verse and the other begins the following. 
In the verse, the hiatus is only allowed under certain condi- 
tions, because the concurrence of two vowels of itself forces 
the voice to a small stop and thereby disturbs the rhythm. 

The poets have not all avoided the hiatus with equal care, 
partly because the sequence of certain vowels was less iff 
cult for the organs, as 7 ovy, Tl av, Ti GY, TL elas, Th i, aa 
OU, TEDL éivSou, and the like (Comp. Mt. Gr. Gr. § 42.) and 
therefore more readily admit of a union, and partly because 
the greater license of many species of poetry, was less partic- 
ular in this respect also. Further, the more cultivated a 
language or a dialect is, the more carefully it avoids all that 
is harsh and offensive; hence in the Attic dialect, even in 
the prose writers, the hiatus was almost universally avoided ; 
in the other dialects, as in the Ionic, less so. Among the 
Romans, the hiatus was avoided by the poets of the Augus- 
tan age, and their imitators, more strictly than by the Greeks, 
while the elder poets, particulraly the dramatists, and Plautus 
most of all, were less careful in this matter. (Comp. C. Linge 
de hiatu in versibus Plautinis. Vratisl. 1817.) 

The most important cases in which the hiatus may occur 
are the following : 

1. When the hiatus, as a help to the prosody, serves to 
shorten a syllable, originally long. ‘The necessity of short- 
ening the long syllable by rapid pronunciation causes the 
hiatus to be less observed. But this license, in the different 
rhythms, is subject to certain limitations, as will be more pre- 
cisely pointed out hereafter, when the several metres are 
treated of. 

2. The dactylic, and even the trochaic arsis, though 
more rarely, justified the hiatus, because where there is a 
greater extension by nature, as is the case in the arsis, an- 
other, which is produced by the gap between two vowels, can 
be easily concealed. 

3. Sometimes in the junction of the series united together 
the hiatus is admitted, because a stop can take place there 
more readily. 


COMBINATION, VERSE, HIATUS. 31 


4, Proper names allow a greater license also with regard 
to the hiatus. 

5. A strong interpunction, or in the dramatists the change 
of persons, causes the hiatus to be less remarked. 

6. Finally, the hiatus is permitted in interjections, which, 
when they are monosyllabic, would entirely disappear by 
elision, in exclamations, addresses and the like. 

The hiatus is often ‘only apparent. ‘I'his applies to the 
case when it occurs by elision, as tevye &wxe; tua erat. 
The elision makes a rapid connection of the two words neces- 
sary and thereby removes the interruption which belongs to 
the hiatus. Finally, by the adoption of digamma in Homer, 
Hesiod, the later Epic poets, and in Pindar, a number of 
cases, where the hiatus occurs, disappear. (Comp. Mt. § 9.) 

Since, where a stop or pause takes place, a word must 
necessarily end, every verse also will be required to end 
with a word. ‘The broken verses, so called, which end in 
the middle of a word, which the ancient grammarians, and 
with them, the modern metricians assume in the higher lyri- 
cal poetry of the Greeks, are nothing else than series, which 
with one or more following belong to one verse. The fact, 
that if the broken verses are rejected, uncommonly long 
verses often have to be adopted in the productions of the 
lyrical poets, especially Pindar, and in the chorusses of the 
tragedians, is no argument in favor of maintaining the bro- 
ken verses, against which a passage in Hephaestion expressly 
declares, way petoov eg téedeiay mepatovta dew. Such 
verses always indicate a rapid and animated delivery, and 
therefore most frequently occur in poems of the Aeolian 
mood. But it is a matter of entire indifference whether such 
verses are written in one line or are divided according to 
their component parts. 

When, on the other hand, in the ordinary measures, as in 
the iambic trimeter, in the hexameter, in the elegiac dis- 
tich, a word runs into two verses, it is an intentional depar- 
ture from the law, for the purpose of producing some special 
effect. For, as the stop falls in the middle of the word, it 
thereby acquires an almost monstrous extent. But yet, as 
the gravity of the poetical thought is reflected in the strict 
observance of the form, humour on the contrary often purpose- 
ly transgresses the laws, in order, as it were, to jest at its own 
fetters; so always a similar license is admissible only in 
poems of a less grave character. ‘The monstrous, the huge, 


32 COMBINATION, VERSE, HIATUS. 


is painted by the sundering of the word, after the manner of 
a caricature. At the same time, it must be remarked that 
such a word, running into two verses, is generally compound- 
ed, and that the end of the verse falls in its juncture. Some 
examples may confirm what has been said. ‘The comic poet 
Eupolis avails himself of this license, to describe jestingly a 
decree of monstrous length : 


"AAR ovyi Svvatov Est: Ov yaQ dAdo m00- 
Bovievua Baoralovor tig modews eye. 


Horace, when he wishes to give a comic importance to an 
oath: Sat. II. 2, 180. 


Praeterea, ne vos titillet gloria, jure- 
Jurando obstringam ambo, 


The same to indicate the extraordinary age of aman: Sat. 
if Pes os tee 
Age, si et stramentis incubet unde- 
Octoginta annos natus, 


Sometimes a proper name, which otherwise would not fit in- 
to the verse, forces the poet to use this license, as Simonides 
in Hephaestion : 


HT wey “AOyvatowws paos yéve?’, jrix 7Aguoro- 
Teitwy “Inmagyov xzeive nai Apnod«s * 
Or Nicomachus in Hephaestion : 


Ovzog dn cot xdewog &¢"EXLada macayv Arodh0- 
Awpos. 

A careful poet is reluctant to close his verse with those 
words which belong, with respect to the signification to what 
follows, as the article, conjunction, preposition, interjection. 
Yet where this occurs, we must not assume a stop at the end 
of the verse, but pass on to the following without a pause. 
The same remark applies when an elision occurs between 
two verses. In Latin, where the syllable to be elided is writ- 
ten out, the verses become apparently too long, and are called 
versus hypermetri, e. g. Virg. Aen. IV. 558. 


Omnia Mercurio similis vocemque coloremque 
Et crines flavos et membra decora juventae. 


Besides the three external marks of the termination of the 
verse, which do not belong to the rhythm, namely the anceps, 


COMBINATION OF VERSES AND SERIES. oe 


the hiatus, and the end of the word, there is yet another, 
which is contained in the rhythm; that is to say, every verse 
is a whole, sometimes more perfect, sometimes more im- 
perfect. As such, it has a beginning (6v0mog éagzos), a 
primary rhythm, (numerus primarius) and a close (clausula), 
and thus must appear finished in itself. An acute perception 
will therefore, in most cases, be able to detect the verse, with- 
out these external marks, and to separate it from others. 
Where it cannot, the structure of the verse is imperfect. 
For all verses cannot have the same degree of perfection : 
sometimes the beginning, sometimes the end is defective. 
These imperfect verses generally are connected with other 
rhythms, and with them form a whole. 

The connection of the series, of which a verse consists, is 
sometimes more strict and sometimes more loose. In the 
former there is no pause at the juncture of the series ; hence 
neither the anceps nor the hiatus is allowed, and a word also 
need not end with the series; in the latter, with the end of 
the series upon which another follows, the pause and there- 
fore the anceps and the hiatus may be placed. Verses in 
which the series are united in this way, are called asynartete, 
OTIYOL KOVYLOTYTOL, versus asynarteti. 





CHAP Tie he ERs 


Of the Combination of Series and Verses into greater rhyth- 
mical Masses. 


SINGLE verses and series can be repeated or united with 
others. Hence arise the different kinds of composition, sys- 
tems (ovotiuate). 

The succession of one and the same verse is called a com- 
position, xata oztyor, composition by the line. The character 
of this composition is uniformity and composure; hence it is 
properly used in the epos, the dialogue of the drama (diver- 
bium), and in certain lower kinds of lyrical poetry, in which 
there is less of poetic elevation. The greater the compass of 
the poem is, the greater must be the variety of the measure of 
which the verse to be repeated by the line, is capable, in or- 
der not to weary by uniformity. Thus the heroic hexameter 
being capable of an infinite variety is best suited for the com- 


34 COMBINATION OF VERSES AND SERIES. 


prehensive epic, the iambic trimeter for the dialogue in the 
drama, while the phalaecean hendecasyllabus or the anacre- 
ontic verse is, on account of its uniformity, appropriate for 
shorter lyric poems only. 

A rhythmical mass which arises from the repetition of st- 
milar series, is called a ctotyua & omolwr, systematic compo- 
sition. There is commonly no stop between the single se- 
ries; hence, with certain exceptions, the hiatus and anceps 
are not permitted in the middle of the system, and a word can 
run into two series. At the end of the system the stop takes 
place unconditionally, with all its consequences, the end of a 
word, the anceps, and the hiatus. The last series of the sys- 
tem, on account of the close, assumes commonly a catalectic 
form, or a particular rhythm is added as a conclusion. The 
proportionate shortness of a system marks it as the form of a 
single lyric thought. The simplicity which belongs to a sys- 
tem, on account of the similarity of its parts, would ill contrast 
with the variety of sentiment of the more elevated lyric poet- 
ry; the latter does not, therefore, use it. The Ionic and Ae- 
olian lyric poets and the dramatists employ it with more pro- 
priety. With the latter it forms usually the transition from 
the dialogue to the melic part of the drama; in general the 
system, as to its form, occupies a position between the compo- 
sition by the line and that by strophes. 

The shortest combination of different kinds of verses is the 
distich composition. The necessity of introducing a prin- 
cipal verse by another, or of letting another follow as a con- 
clusion, furnished the first occasion for this composition. 
Such an introductory verse is called or/yog 2e0mdog, versus 
proodus, and the concluding verse ozizog émmdos, versus epo- 
dus. The greater variations of the rhythms and the small 
extent of the rhythmical mass, which this kind of composition 
presents, render it suitable for expressing single lyrical senti- 
ments, chiefly of an elegiac (distichum elegiacum), jocose, sa- 
tirical or epigrammatic import. 

The asynartete verses stand between the verse and the 
composition by distichs. Here, too, a series is either pre- 
mised as proodus to a principal verse, or attached as epodus, 
so, however, that both parts are not closely connected, as se- 
ries which form a verse, nor on the other hand entirely sepa- 
rated like verses that form a distich. Hence the stop with 
its consequences sometimes takes place at the juncture of 
two series forming such verses, sometimes it does not. ‘This 


COMBINATION OF VERSES AND SERIES. 30 


uncertainty in its treatment renders the asynartete verse unfit 
for the higher lyric poetry. It was more used by writers of 
epodes. 

The combination of several verses into a rhythmical whole 
is called a strophe (ozo0gy, stropha). ‘The verses are either 
like or different. To several, commonly three, like verses, an 
epodus is added as a conclusion, which sometimes, as in the 
Sapphic strophe, blends with the preceding verse into one. 
The number of verses which must belong to a strophe, is not 
fixed ; but they must all, by their character and relation, man- 
ifest themselves as parts of a whole. An aggregate of dif- 
ferent verses does not therefore make a strophe. A strophe 
can be repeated once or several times. When there are two 
strophes only, we may assume that the second corresponds to 
the first, and the second strophe is then called antistrophe 
(avtiozoogn, antistropha). ‘he greater variety of rhythms 
makes the strophe the form of lyric thoughts. But even here 
are manifold gradations from the expression of a single lyric 
feeling, the most suitable form of which are the so called Ae- 
olian strophes, generally consisting of four verses, to the sub- 
lime odes to gods, heroes and princes, in which the more art- 
ful and various structure of the Doric strophes harmonizes 
with the subject. 

As an epodus is joined as a conclusion, or a proodus as an 
- introduction, to single verses, so in connection with two cor- 
responding strophes, another, differing from them, can follow 
as a conclusion, the epode (i Emmdog Sc. ozQ0H%), or precede 
as an introduction , proode (7 moodos), or intervene as a mid- 
dle song, mesode (i ueomodog). It is evident that this third 
strophe must always stand to the other two in a certain rela- 
tion which manifests itself even in the measure, and that, in 
general, three such strophes must form an ideal whole. We 
call this kind of composition, because certain dancing move- 
ments are connected with it, the choral. It is peculiar to the 
higher lyric poetry, because the greater comprehensiveness 
and freedom of this form appears most appropriate for a lyric 
state of mind, which is not the effect of a momentary exter- 
nal impression, but the result of an inspiration deeply felt and 
proceeding from the heart. The Dorian lyric poets and the 
dramatists have in various ways and very artfully made seve- 
ral strophes to correspond with each other in the manner de- 
scribed above, partly in the antistrophic, partly in the choral 
form, which was connected with certain dancing movements. 


36 SUBSTITUTION OF 


Moreover a number of different verses may succeed one 
another in such a manner that the same succession does not 
return. In the very great variety which is here permitted, 
the poet might easily incur the danger of losing sight of that 
unity which, notwithstanding the variety, should comprehend 
the whole. This freest rhythmical composition was most 
adapted for the unrestrained intoxicated enthusiast whom a 
god like Bacchus inflamed. It is, therefore, the form of di- 
thyrambs, paeans, and other wild songs. With this dithy- 
rambic composition (cvotjuata ezoleduusya) the highest 
grade of rhythmical form is attained, but at the same time the 
foundation is laid for deterioration, ‘The perception of unity 
was lost; artificial and ever varying forms became favorites, 
which soon degenerated into trifling, for the amusement not 
only of the ear, but of the eye also; it is only necessary to 
call to mind the axes, altars, candlesticks and other figures 
of Alexandrian poets. 





Crp aP A Bis x: 
Of the Substitution of one Rhythm for another. 


One rhythm cannot be substituted for another, because 
each has its peculiar character, and thereby produces an im- 
pression not to be produced by another rhythm. _ It is, there- 
fore, a peculiar phenomenon when, nevertheless, rhythms are 
interchanged with rhythms. But such an interchange is to 
be considered simply as a license which certain poets have 
allowed themselves. 

The substitution takes place in those classes of rhythms 
only which are composed of equal and double kinds, i. e. the 
choriamb, ionic a majore, and a minore. For these, rhythms 
have been substituted which are equal to them, as to the num- 
ber of times, but eurhythmic, as to their composition. 

Thus for the choriamb the iambic dipody has been put, 
whence it may be inferred that the trochaic dipody must stand 
for the two ionics : 


ONE RHYTHM FOR ANOTHER. 37 


In the same manner the substitution of the trochaic dipody 
for the ionic a minore, and of the iambic dipody for the cho- 
riamb follows, if the trochaic dipody is substituted for the 
ionic a majore : 


—_—_Y — — 


a as aa —_—_— 











and in like manner the substitution of the iambic dipody for 
the choriamb, and of the trochaic for the ionic a majore, if 
the trochaic dipody is substituted for the ionic a minore : 


TER tae ig Us A / 


—_ vv me —_— YY ae _- 


—_—- —_—vY — ——VvY — Vv 

















It is not essential that in these substitutions the feet are 
sometimes preserved pure, sometimes not. ‘This depends 
upon the more or less elegant treatment of the rhythm; hence 
even two separate trochees have been used in the 1onic a ma- 
jore, and even the hiatus allowed between the two. 

The occasion of the above substitutions is to be found in 
the arrhythmy of the feet, which it was desired thereby to sof- 
ten. For example, the weak coincidence of the theses, to- 
gether with the forcible concussion of the arsis in ~v+~— 
—v-v——---— produced an unpleasant effect, and an effort 
was made, by the substitution of the iambic dipody for the 
one or the other foot, to render the verse more eurhythmic. 
The want of a suitable conclusion causes this substitution to 
occur most frequently in the last foot. 

In the dimeter ionicus a minore vy — —v-+—-— the last foot 

Ae Alas —, 
frequently assumes the form of a trochaic dipody vv ---»-~+ 
and then, in order to avoid the coming together of three arses, 
the second long of the first ionic has likewise been changed 

/ / — 
into a short: -y-»—-+-~. This alteration has been called 
refraction of the rhythm (avaxdaoig), and such a verse re- 
fracted (cevecxd. Gevos). 

Greater variety was introduced, by the substitution, into 
the rhythms, and on account of the difference of the forms, 
oynwazta, which they could assume, they were called poly- 
schematist, bvOpor TOMVOYNMATLOTOL. 

The real choriamb is distinguished, by the substitution of 
the iambic dipody, from the dimeter ‘dactylicus catalecticus 


38 CAESURA, DIAERESIS. 


in syllabam. The choriamb, therefore, to which the iambic 
dipody corresponds, must not be considered dactylic ; but, on 
the other hand, the absence of the substitution does not prove 
the rhythm to be dactylic. 

The higher Dorian lyric poetry (Pindar) rejects this substi- 
tution as contrary to its dignity; the tragic poets, however, 
use it, and in such a manner that different forms often cor- 
respond to each other in strophe and antistrophe. 

It is not a change of the rhythm, but of the measure, if the 
irrational time is put for the rational, or if a long is resolved 
into two shorts, or two shorts are contracted into one long. 





CRAY fob xk, 


Caesura, Diacresis. 


Tue verse-rhythm is united to words, elements which are 
themselves rhythmical. The intensity of force manifests 
itself in the verse as arsis and thesis; in the word, as more © 
elevated and more depressed accent (acute, grave): the ex- 
tension in the verse as metre; in the word as quantity. From 
a recurring succession of arses and theses, for which a cor- 
responding metre is substituted, arise rhythmical series; the 
smallest series, by the repetition of which, the larger are pro- 
duced, is the verse-foot. So also in the word-rhythm, the 
smallest rhythmical unit, is the word-foot ; and from the se- 
quence of word-feet, arise word-series. Verse we defined to 
be a limited whole consisting of one or more verse-series ; to 
, this, the sentence corresponds, which consists either of one 
or of several word-series (simple or complex sentence). ‘To 
the composition by distichs, the period consisting of antece- 
dent and conclusion corresponds; to the strophe, antistrophe 
and epode, the proposition, antithesis and conclusion. 

The question now arises whether the verse-rhythm wholly 
coincides with the word-rhythm; that is, whether the arsis 
falls on the acute, the thesis on the grave, the long upon a 
long syllable, the short on a short syllable ; whether a simple 
series embraces a simple sentence, and a verse, according as 
it consists of one or several series, includes a simple or com- 
_ plex proposition ; whether, finally, in the distich, a period con- 


CAESURA, DIAERESIS. 39 


sisting of antecedent and conclusion, and in the strophe, an- 
tistrophe and epode, a period consisting of antecedent, anti- 
thesis and conclusion must be completed. 

We have however already remarked (c. 6.) that in the 
ancient languages the word-accent does not coincide with the 
verse-accent, by which the rhythm gains in life and flexibili- 
ty. But metre and quantity are the point of union, where 
verse-rhythm and word-rhythm meet, as otherwise an absolute 
contradiction between the two would take place; for, in 
general, the feet of the word-rhythm, and of the verse- -rhythm, 
and therefore the rhythmical series and sentences, coincide 
as little as the accents. The interweaving of the two produ- 
ces variety and power; the coincidence, uniformity and fee- 
bleness ; but not in all rhythms to a like extent. 

In rhythms of the unequal kind, which are lively and flex- 
ible in their character, the interweaving of the word-feet and 
verse-feet is suitably applied, because the liveliness is thereby 
heightened. In falling rhythms, which are in their nature 
relaxed, the contradiction between the two feet obliterates 
the feeble thesis termination; the ending of the word, which 
usually takes place in the arsis, raises this and causes the 
thesis to be more lightly passed over. Hence, iambic, tro- 
chaic, and dactylic series delight in the interweaving of word- 
_ feet and verse-feet; the anapaestic however, less so, because 
the forcible termination upon the arsis, if it should fall with- 
in a word, would not sound out so strongly. ‘The same re- 
mark applies to the cretic, choriamb, and the rising ionic. 

These laws, however, are not so strict but that they allow 
various exceptions, which when a specific purpose is attained 
by them, are by no means faulty. The effort also to unite 
word-feet and verse-feet, ought not to be carried too far. 
Too great solicitude is as objectionable as too great negli- 
gence. With all the laws, which art prescribes to itself, 
freedom ought not to be destroyed ; for true art is that which 
moves freely within the laws. 

With respect to verse-series and word-series, they can be 
interblended, or the ends of both coincide. 

From the coincidence and disagreement of verse-series 
and word-series springs the idea of the diaeresis and cae- 
sura (Staeivecte and touy,) abscission and incision. 

The coincidence of both feet, is called the foot-diacresis, 
the coincidence of both series is the principal diacresis, and 
the disagreement of the two feet, is the foot-caesura, so that 


40 CAESURA, DIAERESIS. 


the word-foot is divided by the verse-foot, hence the name; 
and the disagreement of the two series, so that the verse- 
series ends before the word-series, is the principal cacsura. 

Every principal diaeresis and principal caesura is at the 
same time a foot-diaeresis and a foot-ceasura. In writing, 
the end of a word-series is usually distinguished by a punc- 
tuation mark; hence the principal diaeresis and the princi- 
pal caesuras, fall in the punctuation, as 


Aoyete Baxolizas, Maca gia, aoyet aowes 


/ UZ / 


am VV ee VV -|---+» —VvVv 
? 


d 
The verse has a principal caesura and a principal diaere- 
sis, and is accordingly divided into three series. 
The verse 
Integer vitae, scelerisque purus 


4 / — 


ee a 


? 
has a principal caesura, and therefore consists of two series. 
Feet of three syllables, as the dactyle, are capable of a two- 
fold foot caesura, either after the long —|~~, which is called 
the masculine, because it is in the arsis; or after the first 
short ~~ |-, xazv& tov tooyaior, which, as it occurs in the 
thesis, is less strong, and therefore is called the feminine. 

Caesura and diaeresis, have but one aim, namely the mark- 
ing of the terminations of the series; the poet, therefore, will 
be able to make use of them at his pleasure. But certain 
rhythms are more inclined to the diaeresis, others more to the 
caesura. In general those rhythms which delight in foot 
caesuras, will have principal caesuras; rhythms which are 
inclined to foot diaereses, will have principal diaereses. T'ro- 
chaic, iambic and dactylic series therefore have mostly the 
caesura; anapaestic, choriambic, cretic and ionic, mostly the 
diaeresis; but the former do not entirely exclude the diaere- 
sis, nor the latter the caesura. ‘Thus, for example, the tro- 
chaic catalectic tetrameter in the lyric poets has the caesura 
mostly after the arsis of the fifth foot ; 

/ 7) as, fee ae 


mee Ve Ve ee f Ve Ve Ye 
3 


in the dramatists on the contrary the diaeresis occurs after 
the dimeter ; 


, -_-7 —- 2 —/ ™ 


mvavavey|-veveye 


CAESURA, DIAERESIS. Al 


it is clear from what has thus far been said, that the cae- 
sura and the diaeresis belong to the essence neither of the 
verse-rhythm nor of the word-rhythm, but are only percepti- 
ble when the two are united; hence it follows that it is an 
error to stop in the caesura with the voice; but in the diaere- 
sis a short stop is more readily allowed, because a series ends 
init. This also is the reason that, when a pause must be 
made in the midst of a verse, a diaeresis also occurs, as in the 
elegiac pentameter : 

t , < 


—Yyayvn | eevee 
Nubila si fuerint nullus amicus erit. 


The question now arises, how the diaeresis and the caesura 
are marked by the voice. The beginning both of a verse- 
series and of a word-series commonly has a greater elevation 
or intensity of the voice, than the end. ‘The diaeresis is 
therefore marked by a corresponding falling of the voice: 
the caesura, on the contrary, by a corresponding rising. The 
fact that a syllable short by itself, can be used for a long, if 
it stands in the caesura, is to be explained by this increased 
intensity. This lengthening, however, takes place only in 
dactylic rhythms, and then for the most part only in the epic 
poets. 

We have seen above that the coincidence of verse-series 
and word-series is purposely neglected in order to produce 
certain effects; the same is the case with verse-periods and 
periods in language. A word in a period of language that 
runs into a following verse produces the same impression as 
the syllable that stands in the caesura, as Hom. I]. 1. 51, 52. 


A >] \ yv > > ~ #1 2: \ 3 Lge 

ura émetx avtoioe BEdog ExemtEevnes E—plEls, 
A A \ 

Badr: cet dé mvgat x. td. 


The same also applies to strophes, which do not always 
close with grammatical propositions. See Pind. Olymp. VI. 
49,50. Pyth. I. 32, 33. 

We have thus treated, in this First Part, the doctrine of the 
definition, of the general laws of rhythm, and of its repre- 
sentation to the senses by the means of speech. The consid- 
eration of the method by which the rhythm embodied in 
words was adapted to song and music lies beyond the limits 
of metrical science, and forms a part of the theory of the music 


of the ancients. 
4A* 


PAR TEs. 


THE APPLICATION OF THE LAWS OF RHYTHM TO 
POETRY BY THE GREEKS AND ROMANS. 





INTRO DU CT LON. 


Bricf Survey of the History of Greck and Roman Poetry, 
with particular reference to the Metrical Form. 


GreEEK poetry is superior to that of all other nations both 
because it developed itself from the earliest and rudest begin- 
nings to the highest degrees of perfection naturally and inde- 
pendent of foreign influence, and we are able, notwithstand- 
ing the loss of many works, to follow exactly the course of its 
development, and because it shows itself in all its parts so 
harmoniously unfolded that it justly has been and will be a 
model to all nations for all time. The harmony reveals itself 
principally in the choice of the most suitable form to each 
subject, and so by a reversed process the perfection of the 
material, the really spiritual element of poetry can be traced 
from the perfect form. Since in a national poetry, as the 
Grecian was, the national character is necessarily reflected, 
and since, notwithstanding the unity of the Greek mind, still 
each tribe had its peculiarities, and maintained them in life 
as in poetry, and stamped them upon the material as upon 
the form, it is evident that the metrical science is not only to 
be considered, as is usually done, as an auxiliary science for 
the better understanding of the ancient poets, or as a direc: 
tion how to imitate them in poetic attempts, but that as a sys- 
tem of artistical form of the poetic thought, it has a higher 
historical value. We look, therefore, upon the metrical sci- 
ence, as a production of antiquity which like any other of its 
productions, bears on itself the peculiar stamp of its origin. 
But as without a knowledge of the form the poetic material 
cannot exercise its full effect upon our mind, and can, there- 


HISTORICAL VIEW OF GREEK AND ROMAN METRES. 43 


fore, be understood in part only, so on the other hand, the 
knowledge of the form without that of the material, is some- 
thing empty, meaningless, a shell without a kernel. 

Hence it follows, that the knowledge of ancient poetry is 
a necessary preliminary to the study of metrical science. But 
that which we shall present here, is not so much a history of 
ancient poetry, completely carried out in all its parts, as a 
brief outline, in which the most important points are to be 
set forth with special reference to the metrical form. 

The origin of Greek poetry is enveloped in obscurity. This 
much may be inferred, by putting together the scattered no- 
tices, that it proceeded from the religious feeling, as with al- 
most every nation. Hymns to gods and heroes were the first 
poetic attempts. Since, however, there never existed among 
the Greeks a distinct order of priesthood, to whom wisdom 
and art belonged as a monopoly, this temple-poetry was at 
the same time popular, it stepped forth from the temple into 
life, and became national poetry, after the Greeks had, in the 
Trojan war, for the first time fought together. If previously 
the myths of “single tribes and families, which singers or sages 
cool, cool, related, interested him only whom they imme- 
diately concerned ; the representation of that event, in which 
each tribe had taken part, had general interest, and became, 
therefore, the foundation of all succeeding poetry among each 
tribe. Even if Homer and his school were not the first poets 
and singers, they are still to be considered the fathers of 
Greek poetry, for this very reason, because, by the descrip- 
tion of that event which had united the Greeks for the first 
time, they had generally awakened and cherished the sense 
of art. ‘They had borrowed the form from that temple-poet- 
ry; for the heroic hexameter is older than Homer ; it is the 
sacred verse, in which from the earliest times men have spo- 
ken to the gods in prayer, and the gods to men by oracles. 

The homeric songs, notwithstanding the attraction which 
they possessed for all Greeks, did not belie their native coun- 
try, lonia. ‘The Ionians were, among all the Grecian tribes, 
most inclined to a gladsome, cheerful enjoyment of life, whom 
therefore the entertaining character of the epos pleased more 
than the reflection of lyric poetry or the seriousness of tragedy. 

The poems of Hesiod (900%), (Theogony, Works and 
Days, and the Shield of Hercules), approached nearer to the 
temple-songs than the Homeric or later cyclic epics. The 
people received from the lips of experienced priests instruc 


44 HISTORICAL VIEW OF 


tion on theorigin of the gods, heroes and men, rules concern 
ing household affairs, agriculture and the like. 

These epic-didactic poems form the transition from the 
epos to the gnomic and elegiac poetry. ‘The form of govern- 
ment had been altered in most Grecian states after the Trojan 
war, and particularly after the great migration of the Dorians. 
Monarchies had become republics. ‘Thus in the course of 
time the interest in the myths was lost which for the most 
part exalted old reigning families which were either extinct, 
or had been expelled by the people. The political life, on 
the other hand, roused the mind of the people to reflections 
on country, laws, war, and other such subjects. ‘This does 
not remain without influence upon poetry. Callinus (700), 
Tyrtaecus (680), Solon (590), Theognis (550 7) inspire love of 
country, exhort to valor and virtue, and censure the faults of 
the citizens. Others, like Mimnermus, (630), sing in true Ioni- 
an manner the joys and instability of life, and in a kindly and 
melancholy mood invite to enjoyment. Stmonides of Ceos 
(500), who lived for the most part at the courts of kings, im- 
parts to the elegy, instead of the political spirit, a more lyric 
melancholy character, which it has ever since retained. 

The form of the elegiac poetry originated from the epic. 
The elegy was not, like the epos, a continuous narration, but 
divided itself into single thoughts and sentences, yromuat, 
which, however, are united by a common tendency. ‘The 
hexameter was shortened into the elegiac pentameter (pro- 
perly two trimetri dactylici catalectici in syllabam), and thus 
always a hexameter and a pentameter formed a whole, dis- 
tichon elegiacum, long enough for the expression of a single 
thought. Atthe same time it gave the first idea of the stro- 
phe, according to which the later lyric strophes were formed. 
The dialect used in the elegy, as in the epos, was the Ionian ; 
the musical accompaniment consisted of wind instruments 
alone. The flute-nomos is peculiar to the elegy. 

Where poetry once exists, the poetic aspect even of jest 
and satire is soon discovered. Satirical poems are even as- 
cribed to Homer (Margites, Batrachomyomachia). But it is 
under a free government alone that jest can find utterance, 
and thus Archilochus (700), likewise belonging to the Tonic 
stock, is the first political satirist of note. He chastises vice 
and vulgarity often under cover of a fable, often, too, not 
sparing the person. Simonides of Amorgos (500) is known 
to us by his satire upon women. Hipponax (540) was, 


GREEK AND ROMAN METRE. A’ 


throughout antiquity, notorious for his bitter sarcasms. The 
usual and original form of this jesting kind of lyric poetry 
was the amb (trimeter iambicus acatalectus), whence the po- 
ets of this kind are called also Lambographers. 

The iamb is probably not much later than the hexameter ; 
at least it is formed in imitation of it; for the former was 
originally, like the latter, measured by feet, and not by dipo- 
dies, as the generally pure iambs of the older 1ambographers 
prove. A contrast was thus formed between the iambic and 
dactylic rhythms. For as the language of every day life in- 
clines more to the iambic rhythm, so the iambic verse was 
the form for subjects taken from the present time, and later 
for the dialogue; the dactylic rhythm, on the other hand, be- 
ing more quiet and dignified, was better adapted for the re- 
presentation of the grander, more elevated past. 

The iambographers, however, did not exclusively use the 
iamb of six feet. They made use partly of longer iambic 
verses, as tetrameters, partly of the trochaic tetrameter, rela- 
ted to the latter, partly combined, after the manner of the ele- 
giac distich, two verses, so that a shorter verse preceded or 
followed a longer one. ‘The verses themselves were partly 
simple, partly compounded of several series, sometimes asy- 
nartete. Archilochus is named as the inventor of the epodic 
composition. Hipponax provided iambic and trochaic verses 
(usually the trimeter iambicus acatalectus and the tetrameter 
trochaicus catalecticus), by the reversion of the last foot, 
with a peculiar close, which, by its striking arrhythmy, pro- 
duced a comical effect (Hipponactean or limping verses, sca- 
zons or choliambs). 

More harmless than these satirical poems were the mirthful 
songs of joy, wine, and love, which, from the most distin- 
guished master in ‘this kind, Anacreon (520), were called 
Anacreontic. The dialect of these poems was the Ionian; the 
form adapted to the softness of the subject, either the dimeter 
ionicus a minore, which in its unbroken form approaches the 
fall of the iambic rhythm ; hence its corruption to the hemi- 
amb or the glyconic, choriamb, ionic, and similar measures ; 
partly by the line, partly by systems. 

The Lonian lyric poetry is followed by the Aeolian, partak- 
ing of the passionateness and vehemence, the mios, of the 
Acolians. Sensual love, degenerating into mania, enthusi- 
asm for freedom and country, are the material of this kind of 
poetry. Alcaeus (600) and Sappho (612) are universally ac- 


AG HISTORICAL VIEW OF 


knowledged by antiquity as its perfecters. The musical ac- 
companiment are string-instruments, especially the cithara ; 
the dialect Aeolian; the metrical form, more varied than in 
the previously mentioned kinds. They either repeat single 
verses, generally compounded, especially the Aeolian, consist- 
ing of irrational dactyls with a preceding basis, dactylic-lo- 
gaoedic and choriambic, or make use of systems, especially 
the choriambic, alyconic, and ionic; this form attains, final- 
ly, the highest degree of perfection in ‘the Aeolian strophes, so 
called, which generally consist of four verses, the last of which 
forms the close (Sapphic, Alcaic, Asclepiadean strophe). 

The last step in the progress of lyric poetry to perfection, 

was taken in the Dorian lyric poctry. The Dorian tribe 
were distinguished above all other Greek tribes by their man- 
ly seriousness and deep thought, and their poetry bears the 

same stamp. Passionless composure, and equability, freedom 
of the mind, and perfect harmony of the understanding and 
imagination, in one word, that which the Greeks call 700g, 
rules in it. Alcman (660), Stesichorus (550), and Lbycus 
(550), were the first to cultivate this style; but the grand and 
lofty Pindar (d. 442), the philosophical, reflecting Simonides, 
and the cheerful, graceful Bacchylides (450), brought it to 
perfection. The glory of the gods (hymns, paeans, dithy- 
rambs, prosodies, parthenics, hyporchemes) and of the victors 
in the sacred contests (epinicia, encomia, scolia) was the 
usual material of this lyric poetry. ‘The form adapts itself to 
the substance; the dialect is Doric, modified according to the 
language of the epos. 

In the place of the simple Aeolian strophe, the more com- 
plicated Doric was formed, which, because it was at the same 
time destined for the dance, was extended to the strophe, an- 
tistrophe and epode. The musical accompaniment was adapt- 
ed to the greater metrical perfection and the movement of the 
dance. The mood in which a Doric poem is composed, de- 
termines its subordinate character. We distinguish in the re- 
mains of Dorian lyric poetry chiefly three moods: the Doric, 
Lydian, and Aeolian ; and according to these three subordi- 
nate styles, all of which were distinguished from one another 
by subject, language, rhythm, singing, musical accompani- 
ment and dance. ‘The Doric was serious and manly, the Ly- 
dian sweet and effeminate, the Aeolian bold and impassioned. 

A species of the Dorian lyric is the dithyrambic poetry, the 
inventor of which is supposed to be Arion (629), and which 


GREEK AND ROMAN METRE. AT 


was afterwards cultivated in Athens so as to form an inde- 
pendent style. A bacchanal enthusiasm is the prominent 
characteristic of this kind, and the form corresponds to it. 
The metre, especially after Zimotheus (400), consisted of ever 
varying rhythms, full of bold measures and rapid transitions ; 
the greatest variety, in which unity is lost sight of, so that the 
effects of excessive art are evident. The music, too, in the 
Phrygian mood, with wind-instruments, and the dance per- 
formed by cyclic chorusses, had a wild, overpowering char- 
acter. 

A peculiar species of poetry developed itself, in Athens, 
from the lyric poetry, and indeed directly from the dithyram- 
bic, the drama. Dionysiac festivals were celebrated in Ath- 
ens, as in other cities, by songs to Dionysos. Between the 
single songs, one of the performers presented himself, who 
related and represented mimetically the exploits of the god. 
Of these lyric and epic elements, Thespis (590) is said to have 
formed the first dramas, and exhibited them extemporaneous- 
ly. However imperfect they may have been, still they found 
imitators. ‘The material was extended by giving up the ex- 
clusive relation to Bacchus, and treating, in its stead, of other 
myths of a less joyous character. 

Thus tragedy separated itself from the Satyrdrama. In the 
former, man appears in a struggle with fate, with the gods, 
and with his own passions. It is elevating to our feelings, 
that he ventures upon the contest with these powers, that his 
liberty, conscious of its own power, opposes necessity, that 
he falls like a man, when the inevitable destiny smites him. 
The Satyrdrama was intended as an afterpiece, to cheer the 
spectator put by the tragedy in a sad and serious mood. It 
moved in the same mythical world, and frequently was not 
without a relation to the tragedies just performed (tetralogy) ; 
but it placed its characters in circumstances less sad, made 
them extricate themselves from difficulties by some cunning 
trick, and especially entertained by the jokes of the chorus of 
Satyrs. 

As the dramatic material is divided into two principal 
parts, the epic part or dialogue, and the lyric or melic, so is 
the form. The iambic trimeter, rendered more weighty and 
dignified by the admission of the irrational measure, is the 
usual form of the dialogue; in the Satyrdrama it moves more 
lightly in consequence of resolutions. The poets sometimes 
substitute the catalectic trochaic tetrameter. ‘The anapaes- 


48 HISTORICAL VIEW OF 


tic systems form the transition from the dialogue to the melic 
part. The melic part itself is in its metrical, orchestral, and 
musical form Doric. It consists of larger rhythmical masses, 
which assume sometimes a strophic, sometimes a choral, some- 
times a dithyrambic form, and upon this the dance and mu- 
sical accompaniment depended. The dialect of the drama 
is the Attic ; still the melic part especially is furnished with 
many epic and Doric forms. 

Aeschylus (d. 456), Sophocles (d. 406), and Euripides 

d. 406), are considered the greatest masters of tragedy. In 
Aeschylus the lyric element 1s still predominant ; hence the 
chorus occupies a great portion of his plays; he is elevated, 
forcible, bold, and of a rich imagination. In Sophocles, the 
most beautiful harmony between the lyric: and epic prevails ; 
he is noble, delicate, religious; his language unaffected and 
dignified ; plan and execution of the plot excellent. In him 
the drama attained the highest perfection. In Euripides, the 
lyric element, the chorus, is no longer an essential part of the 
drama; on the contrary, it is frequently without any relation 
to the action. His tragedies are calculated for momentary 
effect and for exciting emotion. ‘The influence of the soph- 
ists is particularly perceptible in the numerous moral maxims 
and rhetorical artifices which he makes his characters to ex- 
hibit. His language is for the most part natural and beau- 
tiful, sometimes affected. In the form, too, he is less correct 
than his two predecessors. 

Together with tragedy, comedy was formed as the con- 
trast to the other, from the same lyric and epic elements. 
Tragedy represents a mythical world; it is, therefore, seri- 
ous and elevated. Comedy utters its opinion of the contem- 
porary world, of the constitution of the state, the life of the 
citizens, the national faith, of poetry, philosophy; it is, 
therefore, caustic and satirical, especially at a time of uni- 
versal degeneracy. The principal conditions, on which 
alone this species can flourish and operate favorably, are po- 
litical liberty, which allows to speak publicly of the defects of 
the state, and a man who has a correct conception of the 
state of things, perceives the real defects, and knows the 
means to counteract them, who possesses a rich measure of 
wit, humor and imagination, in order to gain the hearing of 
the people, even for bitter truths, and who, finally, is coura- 
geous enough to direct public attention to the defects. All 
this is found united in Aristophanes (431) and his time. Be- 


GREEK AND ROMAN METRES. 49 


sides him, Cratinus, Eupolis, Pherecrates, and Plato are 
mentioned as comic poets. 

The form of this species resembles, as to its essence, that 
of tragedy, with the exception, that it allows more liberties. 
The iambic trimeter is rendered lighter by frequent resolutions 
and the admission of the anapaest. ‘The same applies to the 
trochaic tetrameter. Peculiar to comedy are the catalectic 
iambic tetrameter, the catalectic anapaestic tetrameter (ver- 
sus Aristophaneus), and several dactylic, glyconic, and cho- 
riambic measures (metrum Eupolideum, Cratineum, Platoni- 
cum, choriambicum polyschematistum, Priapeum and others), 
which often occurred, particularly in the parabasis. The 
chorusses have more varying, more rapid, and less dignified 
measures than in tragedy. The ovozjuara && ouoiwy are 
particular favorites. When, at a later period, the free con- 
stitution of Athens had passed away (410), and the impover- 
ished state could no longer maintain the comic chorus, the 
middle comedy, so called, sprung from the old comedy, which 
was almost entirely destitute of a political character. It rail- 
ed at the faults of individuals under feigned names and cir- 
cumstances. Of this kind we have a single piece of Aristo- 
phanes, the Plutus. Of the comedies of Antiphanes and 
Alexis, belonging to this kind, we have fragments only. 

Here, in fact, closes the history of the development of 
Greek poetry; what the Greeks did later is imitation, partly 
of earlier master-pieces, partly of foreign poetry. The de- 
velopment of the form too, is herewith terminated. For ma- 
terials not yet employed, the existing metrical forms were 
used, which, indeed, were peculiarly modified, and frequent- 
ly in such a manner as to degenerate into tasteless conceits 
and tricks. 

The causes of the sudden exhaustion of the creative power 
of the Greeks are to be found partly in external circumstan- 
ces brought on by Philip and Alexander, which destroyed the 
political life of the Greeks, together with which the peculiar 
national life and poetry died away. A distinct order of scho- 
lars is forming, especially in Alexandria, who alone know and 
imitate the earlier poetry ; the people have forgotten it, and 
remain strangers even to the imitations. Besides this, the 
more frequent intercourse with foreigners, the transplanting 
of intellectual activity from the old classic into a foreign soil, 
at Alexandria, Pergamus, and Rome, the constantly increas- 
ing decline of morals, the impoverishment of the people, the 

5 


50 HISTORICAL VIEW OF 


unquiet, warlike times operated unfavorably. But in part 
the cause of this decay lies in the nature of poetry itself. Po- 
etry had developed itself step by step until it arrived at the 
highest perfection; it was now in danger of degenerating 
through excess of refinement, of which the later Dithyramb 
and Euripides exhibit no indistinct traces. This sudden 
dying out of original Greek poetry, therefore, is not a prema- 
ture death which we ought to lament, but a natural one, such 
as every literature must experience after having attained a 
certain completeness; it is rather an advantage of Greek 
poetry that it has not out-lived itself like the Roman. 

Almost all kinds of poetry were imitated by those who 
were familiar with ancient Greek Literature. They were 
distinguished by copiousness of learning, beauty of language, 
and melody of rhythms. Among the epic writers the most 
famous is Apollonius of Rhodcs (196), who described the 
Argonautic Expedition. Didactic poems were especial favor- 
ites. An attempt was made to unite science, which just at this 
period was greatly enlarged, with poetry. The distinguished 
writers in this species, are Aratus (275) in his Phaenomena 
and Diosemeia, and Nicander (160), author of the Theriaca 
and Alexipharmaca. In lyric poetry imitation extended espe- 
cially over the lighter Ionic and Aeolic species: the hymn, the 
elegy, the epigram, the Anacreontic song, Scolia. ‘The most 
distinguished lyric poets are Callimachus (272) whom the Ro- 
mans frequently resorted to, and Cleanthes (260) known by 
his hymn to Jupiter. A large portion of such lyrical attempts 
from this and a later period have been handed down to us in 
the Anthology, of which the first collector was Mceleager 
(100). Among the imitators of the drama, the best known 
are Lycophron, (274) by his Cassandra, Sositheus (275) by 
his Satyric dramas, and Rinthon (275) by his Parodies. 

A peculiar phenomenon of the Alexandrian age is Mysti- 
cism which originated in oriental ideas. It appeared poeti- 
cally through the imitation of those old Mystagogues, Or- 
pheus, Musaeus, Linus, Olenus, and others, and the use that 
was made of them: hence the Theogonies, Hymns, Epics, 
didactic and gnomic poems, which appeared under their names 
in this and a later period. 

The longer the time from the classical period, the rarer 
and poorer imitations became, but strictly speaking they did 
not wholly cease, until Constantinople, the last refuge of the 
ancient Greek Language and Literature had fallen (1453). 


GREEK AND ROMAN METRES. dl 


Those of the later period who deserve to be mentioned as 
didactic poets are Oppianus (200, A. D.) author of the Cyne- 
getica and Halieutica, Dionystus Periegetes (200) author of: 
a description of the earth; as Epic poets Quintus Smyrnaeus 
(4507) on account of his AYU) ELTOMED ‘Oujow, Musaeus 
(4307) on account,of the epic of Hero and Leander, Nonnus 
(4997) on account of his Dionysiaca, Tryphiodorus (500), 
on account of his ‘/Arou choos, and Coluthus (500), on ac- 
count of the ‘Rape of Helen.” Michael Psellos (860) was 
the first who set aside the ancient form. He is the father of 
the Political Verses, so called, in which the syllables only 
are counted, without regard to their prosodiacal value. 

A peculiar kind of popular poetry, which the Greeks often 
imitated, flourished in Sicily. The beginning of this, as well 
as of Italian poetry in general, was of a more dramatic char- 
acter: alternate songs of shepherds in the country, in which 
they sometimes renewed the recollections of former times, 
and represented mimetically the life and deeds of departed 
heroes and shepherds (Polyphemus, Daphnis, Comatas) and 
sometimes in turn jested with each other, and playfully allu- 
ded to known circumstances in their life. Thus, this poetry 
also had a serious side as it delineated former times, and a 
sportive one, when it touched upon the present. The natu- 
ral scenes, sometimes magnificent and sometimes enchanting, 
which Sicily presented, could not have failed to waken early 
a perception of nature among the shepherds; hence that 
poetical painting is peculiar to them, which explains also the 
tendency to naturalness and to the faithful copying of reality, 
so that herein lies the characteristic difference between this 
and the poetry of Greece. 

The inhabitants of Sicily made no attempt to perpetuate 
their poetical achievements by writing; they are therefore only 
known to us from the imitations of the Greeks. Epicharmus 
(486) was one of the first, who, having his attention called 
to the popular poetry of Sicily, attempted to reproduce it in 
Greek. He chiefly employed dramatically, the Sicilian and 
other similar myths, which were characterized by liveliness 
and sentiment. Hence these bucolic dramas were called 
comedies, although they differed widely from the Attic come- 
dy. The reference to public life, as well as to the present 
in general, which was predominant i in the latter, was wanting 
in the former, although they did not entirely exclude ridicule 
and satire. ‘The pieces of Epicharmus appear not to have 


ae HISTORICAL VIEW OF 


had a chorus. ‘The dialect was the Sicilian Doric: the me- 
trical form, was that of the dialogue part of the Greek dramas. 
He appears to have been the inventor of the anapaestic 
tetrameter catalectic, or the verse called the Aristophanic. 

Sophron (430) made use of the materials taken from real 
life for the construction of a peculiar species of drama, which, 
on account of the imitation of existing reality was called puiwog 
mime. His principal merit consisted in the acute and deli- 
cate observation and lively representation of the subject. 
There appears to have been no peculiar mode of treatment in 
the mimes, but scenes from common life rather were delin- 
eated. Moreover no poetical form was adapted to this wholly 
prosaic matter ; Sophron therefore wrote his mimes in Sicilian 
Doric prose. 

When at a later period, the last traces of a peculiar «buco- 
lic life had disappeared in Sicily, and this species had ceased 
to be the popular poetry, later poets attempted to reproduce 
the past in a more epic manner, and thus arose the bucolic 
Epos or Idyll. Theocritus (280) is the most distinguished 
master of this species. He is a felicitous imitator of Epi- 
charmus in the treatment of mythical materials, and of So- 
phron in mimetic representation; he is a poet of delicate 
feelings, and a skillful observer. The form of his poems is 
epic, the heroic hexameter, but peculiarly modified by a 
fixed division (zetoamodi« Povzoduxy) probably after the model 
of Stesichorus, who used the hexameter in his bucolic poems. 
To this ‘bucolic poetry, the alternate song (goua cwoiBaior) 
and the refrain, or burden (versus intercalaris) belong. Aes- 
chylus probably learned the last in Sicily, and used it in his 
Agamemnon and Eumenides. Next to Theocritus, Bron 
(2380) and Moschus (280) are distinguished as bucolic poets. 

This species of poetry, which copied common life, was not 
without its influence upon the New Comedy in Athens. 
Comedy had by degrees lost all reference to real life. In the 
old comedy, persons were not spared; in the middle, attacks 
on real persons were allowed only under feigned names; in 
the new, however, there was no political character at all. It 
approached the Mime by a faithful representation of men of 
the most opposite conditions, and by a subtile delineation of 
character, but differed from it inasmuch as this delineation 
of character and mimic representation was not its single aim, 
but both were interwoven in an interesting adventure, which 
was carried through the whole (fabula), furnishing a variety 


GREEK AND ROMAN METRES. 53 


of ridiculous situations. This species of comedy had no 
chorus, and therefore its metrical form was mostly confined 
to those metres which the earlier dramatists were accustomed 
to employ in the dialogues. They appear to have marked 
in a striking manner, the various states, from the greatest 
composure to the most violent passions, by the different iam- 
bic, trochaic, anapaestic and cretic measures. The masters 
of this species, of whom only fragments and Roman imitations 
have been preserved, are Aleais (330), Menander (820), Phi- 
lemon (398), and Diphilus (300). 

It was chiefly these dramatic and mimetic kinds, which 
procured for Greek poetry a reception among the Romans. 
Kor the peculiar popular poetry, which is more ancient than 
the imitation of the Greeks, bore the general Italian charac- 
ter, and hence, though ruder than the Sicilian, in kind it 
was not unlike it. It is true the Romans also had a temple 
poetry, which however was in the highest degree inartificial, 
and appears at the same time never to have been the poetry 
of the people properly so called; it was rather the property of 
particular colleges of priests, which had their origin in Etru- 
ria. ‘his poetry was continued for a long time but became 
more and more unintelligible to the people and even to the 
priests themselves. The original form of these sacred songs 
was the Saturnine verse, in which Saturn and Faunus com- 
municated their oracles, as among the Greeks the gods used 
hexameters for this purpose. It seems that in this measure, 
verbal accents prevailed, but the quantity of syllables could 
not have been observed, because it was not developed until 
later, by the imitation of the Greeks. 

The popular poetry which existed at the same time with 
this temple poetry was wholly rude and artless. The amoe- 
baean and dialogue form is the predominant one, because, 
properly speaking, it sprang only from social conversation. 
The material is for the most part taken from the present; 
hence a mixture of merry tales, novelties of the town, descrip- 
tions, ridicule of well known persons or circumstances, pleas- 
antries, wit, sage rules of life, but all without a definite plan, 
and this motley mixture was well expressed by the word 
Satura, Satire. ‘The wanton jests of those who were assem- 
bled to celebrate a marriage or some other joyous festival, 
formed a subordinate species, called the Fescennine. The 
songs, which according to Cicero, (usc. I. 2.) the ancient 
Romans sang alternately to the flute, in which they cele- 

* 


54 HISTORICAL VIEW OF 


brated the deeds of the gods and of their ancestors, during 
public entertainments, which were appointed in honor of the 
gods, were of a more serious kind, but wholly destitute of 
poetical merit, and in no respect whatever to be compared 
with the Epos of the Greeks. 

When learned Greeks began to translate Greek poets into 
Latin, and made Greek poetry accessible to the multitude, 
the Italian national poetry for the first time appeared in con- 
trast with the Greek. The drama, especially the new come- 
dy, formed the point of union. Livius Andronicus (240) 
translated Greek pieces and brought them upon the stage, 
and Ca. Naevius (230) and Q. Ennius (200) followed his 
example. The people were more pleased with the comedy 
because it was more easily understood and more resembled 
the prevailing Italian species. The rude multitude had less 
perception of tragedy. If anything attracted them, it was 
the external splendor with which it was represented ; more- 
over, the mythic world, and the peculiar Greek life in which 
tragedy moved might well have been too foreign to give them 
much pleasure, although examples are not wanting, in which 
national materials were used, but the rarity of such phenom- 
ena creates the suspicion, that in spite of this the people 
were incapable of being inspired with any great delight in 
tragedy. 

With the great favor which comedy enjoyed, it could not 
fail to happen that the Roman Satire also, which, to distin- 
guish it from the later is called the dramatic, should undergo 
a transformation, and especially by making a fable or plot 
constitute a part of it. But that the genuine Italian form 
might not be at variance with the material, if that had been 
taken from the Greek comedies, the Atellan fables, a spe- 
cies of play which had long existed in Campania, in the 
neighborhood of Rome, were selected. ‘The Atellanae, were 
mimes in which Campanian peasants played the principal 
characters. The plan of the fable must have been extreme- 
ly simple, since those pieces, as well as the Satire, were only 
improvised ; jests and the faithful delineation of reality always 
continued to be the principal part of the entertainment. 
Thus we find an opposition between the foreign and the 
national elements; but the more familiar the Romans be- 
came with the Greeks, the more they sought to Hellenize 
what was their own, and the more unimportant the distinc- 
tion became. Thus the Atellanae acquired in later times a 


GREEK AND ROMAN METRES. oo 


Greek form through Pomponius, like that of the Greek come- 
dy, and finally blended with the mime, to which the Romans 
had likewise given the Greek form. Another species similar 
to these, was the fabula togata,a kind of comedy which 
delineated genuine Roman manners and characters, while in 
the fabula palliata those of the Greeks were accustomed to 
be represented. ‘The form of all these species was that of 
the new Greek Comedy; iambic and trochaic measures, 
anapaests, cretics, etc. One peculiarity is the Bacchic me- 
tre, which with the Romans took the place of the dochmius, 
which they seem to have used but little if at all. All these 
more vehement measures, were delivered in a musical recita- 
tive, and these portions were therefore called cantica: the 
more grave trochaic and iambic measures, as the metres of 
dialogue, were declaimed without a musical accompaniment. 
In the treatment of the verse, the Romans were much freer 
than the Greeks, manifestly because the verse always retain- 
ed a certain degree of dependence on accent. 

The most distinguished masters of these kinds of the 
drama are the following: in tragedy, Naevius, Ennius, M. 
Pacuvius (150), L. Attius (140); in the fabula palliata, 
Livius Andronicus, Naevius, M. Accius Plautus (184) ; 
Caecilius Statius (170), P. Terentius Afer (105); in the 
fabula togata, C. Afranius (134): in the Atellanae, L. Pom- 
ponius (94), @&. Novius (90); m the Mime, P. Syrus, and 
Decimus Laberius (40). 

The Satire, the genuine Roman mime, was thrown into 
the background by these kinds of drama. By degrees it 
wholly lost its dramatic character and approached the epic- 
didactic form. Satires were now written instead of being 
improvised, as they had before been. ‘The satires of Ennius 
and Pacuvius however, appear not yet to have renounced 
wholly the dramatic form; Caius Lucilius (130) was the first 
to give them that epic-didactic form which they ever after 
retained. We have only fragments of his works. 

The epic and lyric poems, in which for the most part both 
form and matter were borrowed from the Greeks, were still 
more foreign to the nation than the above mentioned kinds 
ofdrama. Livius Andronicus introduced the Epos in Rome 
by his translation of the Odyssey in the Saturnine measure. 
Naevius wrote the second Punic war in the same measure, 
and Ennius reduced the ancient Roman History to hexam- 
eters. 


56 HISTORICAL VIEW OF 


The didactic poem was the most favorite kind. In this 
also Ennius made the first attempt: the most celebrated, 
however, is the poem of Titus Lucretius Carus (60) de rerum 
natura. ‘he hexameter which these poets used, differed 
essentially by its more careless structure from the later art- 
fully-wrought hexameter of the epic poets in the Augustan 
age. 

Among the species of Greek Lyric poetry, the Ionic and 
Aeolian found the most ready reception among the Romans, 
partly on account of the subject matter being easier and more 
intelligible, which must have rendered it also better adapted 
to imitation, partly on account of the simpler form, to which 
the less cultivated language of the Romans more easily con- 
formed itself. ‘The most famous lyric poet before the Augus- 
tan age is C. Valerius Catullus (48). His models are Sappho, 
Anacreon, Archilochus and Hipponax; the metrical form, 
therefore, of his poems, is exceedingly varied; he uses the 
hexameter in the small epic picture called the Epithalamium 
of Peleus and Thetis; the elegiac distich in the elegies and 
epigrams ; in the smaller lyrical poems by turns iambic mea- 
sures (especially the trimeter claudus), the hendecasyllabus, 
so called, the Priapean verse, the Galliamb, Sapphie and Gly- 
conian Strophes. 

The imitation of the Greeks flourished most brilliantly 
among the Romans in the age of Augustus. Men of distin- 
guished intellect, full of learning and taste, studied Greek 
models, and sought to reproduce them in accordance with 
the character of the Latin Janguage, not only with reference 
to the matter, but particularly in the form. ‘The epic writers 
generally followed the Alexandrian poets, manifestly the best 
models of a rational and at the same time a learned imitation 
of classical antiquity. The most distinguished epic poets of 
this time are P. Virgilius Maro (d. 19, B.C.) by his Aeneid, 
and Publius Ovidius Naso (d. 17, A. D.) by his Metamorpho- 
ses. Through them the Latin hexameter attained its high- 
est perfection and beauty. In didactic poetry also, they both 
stand at the head of their contemporaries. Virgil’s poem on 
agriculture, and Ovid’s Art of Love, and Fasti, are the best 
that we possess of this kind from all antiquity. The idyllic 
Epos also found in Virgil a felicitous cultivator, although 
he remains far behind his model Theocritus. 

The Elegy is an especial favorite, particularly after the 
model of Callimachus. Albius Tibullus (d. 18, B.C.) is 


GREEK AND ROMAN METRES. OF 


distinguished for delicacy, warmth and depth; Sezt. Aurel. 
Propertius, (d. 15, B. C.) for learning and taste; Ovid for 
ease and wantonness. 

The greatest master of the Roman lyric poetry, is Q. Ho- 
ratius Flaccus (d. 8, A. C.) With all his dependence upon 
the Greeks, he is still himself a creator and inventor. This 
is most clearly manifested in the metrical form, to which he 
found the means of giving the character of vigor and dignity 
in keeping with the Latin language by extremely simple mo- 
difications. His models are the Aeolian lyric poets, Sappho 
and Alcaeus, and, in the Epodes especially, Archilochus. 

With his varied abilities, Horace embraced also the last 
remains of a genuine Roman poetry, which still existed in 
the Satire, and brought it to its highest perfection. His Sat- 
ires contain a treasure of genuine wit, of delicate observations 
on the condition of affairs at the time, on literature and man- 
ners, as well as of practical philosophy and rules of life of 
universal application. ‘The Epistles, an original species of 
poetry unknown to the Greeks, resemble communications to 
friends upon the most various subjects, full of pleasantry and 
wit, in alight poetic garb. The form of both species is the 
hexameter, whose purposely negligent structure is suitable to 
the matter, which never goes beyond real life, and is calcu- 
lated to make us forget, as much as possible, art and imita- 
tion of the foreign. 

The drama also, in this period, was brought nearer and 
nearer to the Greek, by more careful imitation of Greek mo- 
dels. But what it gained in art, it seems to have lost in ori- 
ginality. As tragic poets, Lucius Varus (B.C. 18), and 
Ovid, are distinguished, the one for his Thyestes, and the 
other for his Medea. Comedy found but few cultivators, evi- 
dently because pantomime, for which Augustus had a decid- 
ed predilection, drove it from the stage. 

- After the death of Augustus, the traces of excessive cul- 
ture, and consequently of the decline of poetry, become 
visible. The form is predominant,—to that all care is devo- 
ted. When the monarchical constitution had driven elo- 
quence from public life, rhetoric took refuge with poetry, and 
exercised there a mischievous influence. Instead of true po- 
etic inspiration, we often find nothing but declamatory bom- 
bast. The purity of language, as in general all scientific ef- 
fort, disappears more and more after the time of Hadrian ; 
even imitators become more rare. The matter of poetry be- 


58 GREEK AND ROMAN METRES. 


comes continually more insignificant, the form always more 
affected, until at last it degenerates into the rhymed leonine 
verses. 

As Epic poets, we have to name M. Annacus Lucanus (d. 
65), on account of his Pharosalia, C. Valerius Flaccus (70), 
on account of his Argonautica, P. Papinius Statius (96), on 
account of his Thebais and Achilleis, Caius Silius Italicus 
(d. 100), on account of his Punica, and Claudius Claudianus 
(395). Calpurnius Serranus (50), is an imitator of Virgil in 
the Idyllic Epos. As didactic poets, Q. Serenus Samoni- 
cus (212), and Nemesianus (284) are to be mentioned. 

The Aesopic Fable was handled by ‘I’. Phaedrus Libertus, 
(30) in the time of Tiberius, in iambs which are formed after 
the model of the ancient Comedians. 

Satire flourished more than all other kinds, because the 
times afforded it ample materials. Aulus Persius Ilaccus 
(d. 64), Decitmus Junius Juvenalis (90), 7. Petronius Arbi- 
ter (60), are distinguished,—the last on account of his half 
prose half poetic Satiricon, and Lucius Annaeus Seneca 
(d. 65) on account of his Satire upon the deified Claudius. 

The achievements in the lyrical species are very small. 
The hendecasyllabus is the most favorite form. M. Valerias 
Martialis (10V) is distinguished as the author of epigrams. 
He is the father of the witty epigram; the form is the elegiac 
distich, the iamb, the trimeter claudus, the hendecasyllabus, 
the Sotadic verse, and epodic measures. ‘T'o the lyric poets 
also belong Statius on account of his Sylvae, Decimus 
Magnus Ausonius (380), Claudian, ete. 

The achievements in the drama are more meager still. 
The ten pieces of Seneca which we possess are exercises In 
style, and hence were naver brought out. The ancient 
Atellanae again make their appearance under Tiberius, and 
speak with considerable freedom against the faults of that 
age. Indeed, this genuine Italian species of drama was 
never entirely extinct, but continued down to modern times 
under the form of the comedia dell’ arte. 


TROCHAIC RHYTHMS. 59 


SECTION I. 
SIMPLE RHYTHMS. 


CHAPTER I. 


RHYTHMS, THE FUNDAMENTAL FOOT OF WHICH IS TRIPLETIMED ; 
THE DOUBLE OR TROCHAIC-IAMBIC CLASS. 


A. Falling, Trochaie Rhythms. 
Tue ground-foot of the trochaic rhythm is tripletimed and 


falling: vv». The principal arsis rests on the first two shorts, 
the former of which has the stronger intensity (P. I. ch. 3. 
p. 13). The first and second short alone can be contracted 
(PE Aech. bap. 21. 

The trochaic rhythm, belonging to the double kind, is less 
dignified than the dactylic. It is quicker and lighter in con- 
sequence of the more forcible intensity of the arsis, and the 
more limited extension of the thesis (P. I. ch. 3. p. 18), and 
the rhythm being falling, has Jess force than the iamb, though 
this has the same times (P. I. ch. 1. p. 8). The rhythm 
may, however, by various modifications become both more 
forcible and grave, and also feebler and lighter. 

The double kind delights in the union of pairs of feet into 
dipodies (P. I. ch. 3. p. 15), our § time. For reasons stated 
above the short of the second trochee of the dipody alone can 
be converted into the irrational measure: —-~—~. In a tro- 
chaic series which is to be measured by dipodies, the freer 
measure is allowed in the even places (in sedibus paribus) 
alone. This rhythm, by dipodic measurement, and by a fre- 
quent use of the middle time, approaches to the dactylic and 
hence becomes graver and more dignified; by foot-measure- 
ment, and frequent resolution of the trochee into the tribrach it 
becomes more light and moveable. ‘Thus we distinguish light 
trochees which are to be measured by feet and on account of 
their rapid movement, are particularly suited to the Aeolian 
mood, and grave, which proceed by dipodies, and on account 
of their greater dignity are frequently used in poems of the 
Doric mood (Hermann’s Dorii Epitriti). — 


60 TROCHAIC RHYTHMS. 


The poets made use of the irrational dactyl with limitations 
which will be hereafter more particularly described. ‘The 
older Roman dramatists use the liberties, permitted in the 
even places, in the odd places too, (P. I. ch. 4. p. 19): 

—v |j— ev ]set tt y—acat. 
—— | —— —v- cat. 


te, — Vv v 








The proceleusmatic was probably not used; where it does 
occur, it should be concealed by the pronunciation. 

Trochaic rhythms delight in the foot caesuras, because 
they gain force thereby (P. I. ch. 11. p. 40), as Pind. Isthm. 
EM. 35: 


, > ~ 9 , ¢ , 
Teconowy avSQwy eQUUWoEv UALOIOUY EGTIAY. 


Longer trochaic series, if used by the line, have a principal 
diaeresis in the middle. 

The catalexis of trochaic verses is in syllabam only. 

The termination in arsi closes the verse forcibly; the cat- 
alexis is, therefore, very usual (P. I. ch. 7. p. 26). 

The shortening of a long by the hiatus occurs in resolved 
trochees alone, and even then seldom, in lyric passages of 
tragedies, as Eur. Iph. Taur. 197: 


fan an Ia na 


, : ae: z A Fey 
WMovos Emi Mov, “yen tT ayeow, 
and in lyric poets, as Pind. Olymp. IL. 83: 


v 


/ UA a 7 uA 7: 


wee ee OO Oe ee ee a ee Ye ee YY 


bp) ~ ~o? 2 UZ Can SP) > ~ ? , 
Aovs te naid’ AiPiona. m0d.G wor vm ayxorvos oxea 


Bean. 
The hiatus in the trochaic arsis is very rare, and besides 
used in lyric poets alone, as Pind. Olymp. III. 30: 


Ud tA / = 


5) ~ y € 
Arwteia “Ogdwaia tyouwer oar ; 


compare also Olymp. XIII. 35. 


TROCHAIC RHYTHMS. 61 


The following are the single trochaic rhythms which are 
in use: 


(1) The Monopody.—Monopodia trochaica : 


This smallest trochaic rhythm is sometimes found before: 
other longer ones as an introduction, and is then called a basts 
x — 
(Buotg). We shall always mark the basis with x, -~. 
x 
This trochaic basis contains the following forms: -—~ ,-—- 
Kk 
ve~v,v~+—, all of which are in use. Besides this basis an 
a Re OE on A 
iambic one occurs: v—(v¥-,--,v+»,—-vv). They are some- 
times interchanged. Pindar, however, uses always one form 
without interchange. With him the trochaic basis has usual- 
ly the form of a trochee or spondee, more rarely of a tribrach, 
and once only as an anapaest. Nem. VI. 68. 


eee Ve YY Oe 


"Toor sioyu Medyotar. 


The dramatists are less restrained in the use of the basis, 
being allowed to interchange the trochaic and iambic forms, 
as Soph. Philoct. 1125, 1148. 


vem Strophe 


—-v—-.v—— Antistr. 
Tha pov yeou modo. 
Xoo0s ovpsoiBoras. 


The Aeolian lyric poets are still freer, exchanging the basis 
for the dissyllabic anacrusis, as Sappho in Hephaest. 
pe? a 


ia J dt ee a 


Thvzvaixoov awayavoy ooreror. 


62 TROCHAIC RHYTHMS. 


The Roman lyric poets used the basis commonly in the 
spondaic form only; Catullus alone uses the trochee, the 
iamb, and once the tribrach. 

The trochaic basis, like every other rhythm which begins 

-xX- x 
with an arsis, can be increased by the anacrusis: v»—~(--~, 
a X xX 
v--~,--»,---), as Aesch. Sept. c. Th. 356, 368. 
—-xX f va 
Tiy éx cord etxaout Loyos maou. 
Layxiavtor adyéor étio600or. 
en) oe 

Or an iamb may be prefixed ~-——~ (antispast), as Eur. 

Hec. 468. 


Fiz i / 
> , > , , 
Avavaias &y xooxéw aéahep 
Pind. Pyth. II. Epod. 8. 
72% / Bak y - 
Tov evepyétay ayurais cuoiBais tmoipouerors tiveo Oat. 


X—X- 
The basis may also be repeated —--—~. In this case the 
second basis is usually treated with less freedom than the 
first. Pindar doubles the trochaic basis alone, as Nem. IV. 
6, 22, 70. 
), C=) GS / - 


id ~ 23) / , , 
Prua d eoywarwr yooriatepoy Prorevet. 
Aiyivas zat. pido yao thos edo. 
‘5 5) , \ , ov , 
Avis Evewmay mort yéooor evtek vaog. 
the dramatists also the iambic, see below. A double basis 
a eae ge 
with the anacrusis »—+—~ likewise occurs, as Pind. Pyth. 


VII. Epod. 6. (v. 40, 60). 


X—-X-—/, _ 


ee ee 


TROCHAIC RHYTHMS. 63 


Yiots OjBac adviSaro muguevortas aiyuc. 


; , , , 
Marrevpator & épuwaro ovyyovowe Téyvae. 


The basis is sometimes placed at the end of a verse, and 
is then called ecbasis (€xBucts), as Aeschyl. Eum. 321, 322. 
/ oo 
/ 2. 
Mazeo, & pe exintes, © wareo, 
NE ddaoiat zai Sedoox0ow mowar. 
Pind. Olymp. LX. Epod. 4. 
x 


/ xX — 


~ b | ny ¢€ ~ 
Qacoor xa vaog vmontEooV MAYTE. 


The ecbasis was even repeated, as Pind. Olymp. IX. 
Epod. 5. 


Ayyellay méupo taveay. 


The basis has this in common with the anacrusis that both 
occur before such rhythms only as begin with the arsis; the 
basis stands, therefore, before trochaic, dactylic, cretic and 
choriambic rhythms. 

As to the measure of the basis, it appears to be longer than 
that of the common trochees. In general the basis may be 
as long as one metre of the following rhythm; if the basis, 
therefore, stands before a trochaic rhythm which is to be 
measured by dipodies, it 1s to be drawn out as long asa 
trochaic dipody : 


42 


— VY 





—_Y — 





Tu certain lyrical kinds the measure of the basis and ec- 
basis seems to have been even quadrupled, so that the tro- 
chaic basis corresponds to the trochaeus semantus, the iam- 
bic to the orthius. Hence it was preferred to have the basis 
and ecbasis fall on weighty words (comp. K. O. Miller: 
Aeschyl. Eum. p. 93, English translation, pp. 78, 79). 


64 TROCHAIC RHYTHMS. 


(2) The Dipody.—Dipodia trochaica. 


(a) The Monometer.—Monometer trochuicus. 
Aim ee 
—~--~ acatalectus 
—-— catalecticus. 


Both verses and systems are composed of the acatalec- 
tic monometer. It is not used alone, but always connected 
with other rhythms, for example, with a logoaedic dactylic 


Series : 
‘ > 
Towiho door adavar Agoodizn. 


Integer vitae scelerisque purus, 


Pind. .Pyth. TV. 1. 


»» —v—~ (versus Sapphicus) 


/ / 


Lauepor pév yon os mae “voi ido. 
Eur. Med. 977, 978. 


/ / 


i 


Ovxete’ otetyovot yao és povor 7On. 
A&erat vouga yovotor dvadecpor. 
It is also found placed after, as Soph. Ant. 593. 


/ / aod 


ee Oe eae ee ee 


Aozuia ta Aapdaxndéay olzov opapet. 

The catalectic monometer differs from the cretic by the 
pause only; it is, therefore, not easy to determine whether, 
in certain cases, the form is cretic or trochaic. It seems to 
be trochaic when it occurs in strophes of Doric composition, 
especially at a close, as Pind. Olymp. IIL. 2. 


TROCHAIC RHYTHMS, 65 


/ (rae: 
Kiswav Axnpayarta yeouiowy evyowct. 
and when in Roman comic poets it precedes iambic verses 
as a close, as Terent. Eum II. 3, 1. Phorm. HI. 2, 1. 
occidl, 
Neque virgo est usquam, neque ego, qui illam e cdénspectu 
amisi meo, 
Dorio ! 
Audi, ébsecro. — non audio. — parumper. — quin omitte me. 
The anacrusis is sometimes placed before the acatalectic mo- 
ee 
nometer : »—-—+, a monometer iamb. hypercat. or tripodia 
iamb. catalect. (zeyOnutmeoeg iambicum). It occurs both 
singly, as Pind. Pyth. VI. 7. 
——— Exoipos uve. 
and united to other rhythms, as Soph. Oed. Tyr. 1339. 


mers If / 
"Et got canovew ndove, phot. 
ey is 
v—-v—v—vv—~v— (hendecasyllabum Alcaicum). 
Odi profanum vulgus et arceo. 
Sometimes the acatalectic monometer is preceded by an 
Vo At = 
iamb: y-—»-—-+, an apparent dochmius hypercatalectus, as 
Eur. Herc. fur. 879. 
Xogevd yr avavioss. 
The catalectic monometer with the iamb resembles complete- 


ly the dochmius, but the second short is never allowed to be- 
come irrational : »-—»-—, as Pind. Pyth. V. 6. 


SV tol voy “Avra. 


(b) The Dimeter.—Dimeter trochaicus, 
, -—) - 
—v-—»---~ acatalectus 
, _—/ = 
—v-~----  catalecticus. 
6* 


66 TROCHAIC RHYTHMS. 


Both are frequently used singly as well as in connection 
with other rhythms, as Eur. Med. 979. 


A&erar Svotavog atuy. 
Pind. Isthm. II. Epod. 3. 


2 , v4 tA 
Lodpiay iow vine. 


Pind. Olymp. III. Epod. 1. 


‘2 x1, xoaivor epetpas Hoaxdéog mpotéoas. 
The catalectic dimeter occurs especially as the concluding 
rhythm, as Pind. Olymp. VIII. 7. 
Tov dé noySor aumvour. 


Olymp. III. Epod. 1. 


‘Arpenns Eddavodinus ylepavov Aitwhog avno voter. 


and so likewise as a conclusion of trochaic systems. 

In the Roman comic poets it is frequently found as a close 
after longer rhythms which terminate in thesi, as after the 
tetrameter troch. acat. Terent. Andr. I. 5, 11. 


Adeon’ hominem esse invenustum aut infelicem quémquam, 
ut ego sum ? 
Pré Deum atque hominim fidem. 


Sometimes it precedes, as Terent. Adelph. IV. 1, 8. 


Quédd si abesset Idngius, 
Prius nox oppressisset illic, quam huc reverti posset iterum. 


The anacrusis may be prefixed to the acatalectic dimeter : 


iets ah eine », adimeter iamb. hypercat., so called, as Soph. 
Electr. 482. 


Ov yao mor auractei 7 0 Groas. 
Pind. Olymp. VI. 1. 


/ , ~ 


Xovotag vaoctacartes evteyei MOOD VED Dadauor. 
In the Alcaic strophe it forms the third verse : 


Audita Musarum sacerdos. 


TROCHAIC RHYTHMS. 67 


The catalectic dimeter with the anacrusis does not differ from 
ae, = PS 
the dimeter iamb. acat. »--v—v~—~-. 
Both can receive a basis also, as Pind. Olymp. VI. 6. 
> a er Z / = 
Lvvowmiotyo TE TAY uhEWaY LSvoanocoay* tiva nev ~pvyot 
UUPOP. 
Eur. Iph. Aul. 241. 
TTovuroas on Aydietov otoarov. 

If a trochaic tripody is attached to the acatalectic dimeter as 
a sort of epode, it makes what is called the tetrameter troch. 
brachycat. a - 

OvS “Ausuplar opate nt@yor ort eq jpiV. 
Aesch. Prometh. 534, 535. 

"Alc wow TOS &upevon xe pmymot extaxetn. 


(c) The Trimeter.—Trimeter trochaicus. 
/ —? -) _- 
—v—-v—-v—-»—~-—-» acatalectus. 

/ mate mone ae 
ave ee ae COURIC ICIS. 

Both are found as lyric verses only, sometimes singly, 
sometimes in connection with other rhythms. The acatalec- 
tic is particularly suitable for the close of an entire rhythmi- 
cal mass, as Pind. Olymp. III. 5. 


Aapin Qovar évapuosae medina. 
Pind. Olymp. VI. 7. 
id / iv / 

7 of Coa RS 5) , ee ND , 5) ~ CNet (ea Se: ~ 
Keivog avno, éminvocats agdovav actor ev imeotaig aowais. 
As an example of the catalectic, Pind. Olymp. XII. 3, may 
serve: 

‘ A 6 ~ 
Tw yao &v mort@ uvBeorarta Poul. 
The acatalectic trimeter with the anacrusis is the trimeter 
1amb. hypercat. so called: 


— S/S —_— sy —/ —_ 


See ee oe Ye Me Me 


68 TROCHAIC RHYTHMS. 


as Pind. Nem. IX. 5. 
TIvdavosg ainewas ouoxdeoos émontais. 
The catalectic with the anacrusis : 


—) 7, 7, —/ = 


ee eee Me Mee Oe 


does not differ from the trimet. iamb. acat. 


(d) The Tetrameter.—Tetrameter trochaicus. 
4 ee: wmf. — = 
—vovov—v—v—v—~—~ acatalectus. 
/ ee ah ee 
—vovav—v-v—+--+— = catalecticus. 
The acatalectic tetrameter is found in lyric and dramatic 


poets in chorusses, without a fixed caesura, as Pind. Isthm. 
EIT, 1; 25. 


Ei ue avSoor evrvyyjous 7 ovv evdokoug aédros, 

Toi nev wv OnBaoe cyncertes aoyader Lepovea. 
With the anacrusis it becomes the tetrameter iamb. hypercat., 
so called: 


-—/ —/ —/ -7 - 


eee -— Y/Y 


as Pind. Nem. V. 6. 

Ovzw yérvot pairwy téoewar mateo oivarDas omWoar. 
The Romans made frequent use of the catalectic tetrameter 
in the dialogue of the drama; versus octonarius. 

The catalectic tetrameter was used by lyric and dramatic 


poets in the dialogue as well as the melic part of the drama. 
As a lyric verse it has no fixed caesura, as Soph. Trach. 132. 


Nv§ Booroicw ovte Kiges, ovte mhovt0S, add apao. 
Pind. Isthm. III. Epod. 5. 


, —~7 / / _ iw. 


aw ae VY VY oe VY VY 


eee ee ee ee ee i Oe 


Kei naroo0e Ausdsaxt0aow ovyvopor movtov dteoretyov 
TETOMOGLAY TOVOLS. 
As a verse of the dialogue it has usually the diaeresis in the 


middle. ‘The Romans, who, likewise, use it frequently 1 in 
the drama, call it versus septenarius. 


-TROCHAIC RHYTHMS. 69 


By the inversion of the last foot, the catalectic tetrameter 
becomes the tetrameter troch. claudus, or Hipponacteus 


(e) The Pentameter.—Pentameter trochatcus. 
7. ees aia oa 4 = / == 


ee Be eS Ne Oa An pe ee acatalectus. 


—veye vovaveavav—v—~—  catalecticus. 


‘I'he former does not appear to have been used, the latter is 
found as the closing rhythm in Pindar, Nem. VIII. Ep. 7. 


dv Veo yao toe qutevders 020s KrOowro.ct MAQMOYOTEDOS. 
Isthm. IIT. Epod. 6. 


b) ») 4) {2 
May 8é xviaSousrag “neous GLX GAdov EadLaSer* areo- 
Tol ye wav aides Deo. 


Callimachus used this verse by the line; the grammarians 
call it véouetoor. 

If longer combinations of the tripody are found, they are 
to be considered as trochaic systems. 


(3) The Tripody.—Tripodia trochaica. 
—v---—~ acatalecta, Ithyphallicus. 
—v--—  catalectica. 

The acatalectic tripody has the name Ithyphallicus as a 
form of certain wanton songs, which were sung during the 
exhibition of the (Ovqaddog, at the Dionysiac festival. ‘The 
verse was then used, joined as an epode with iambic trime- 
ters. \ 

The ithyphallic is particularly appropriate to the close of 
other rhythms, less to be used as an independent verse. Re- 
solutions frequently take place, more rarely in the last foot. 
Examples: Pind. Olymmp. V. 2, 3, 4,5, where the ithyphallic 
closes each verse. Soph. Oed. Tyr. 472. 


70 TROCHAIC RHYTHMS. 


Kijoss cvanaxyrot. 

Archilochus and other writers of epodes frequently use the 
ithyphallic in distich composition, and in asynartete verses 
as the closing rhythm. 

The ithyphallic occurs sometimes in the beginning, or mid- 


dle, as Pind. Nem. III. 2. 


/ In In by 
Tuy rodv$evar éy teoopyvia Neueas. 
Pind. Olymp. IL. 7. 


f 1A / + 


Lvaripor ce mutéowr “ator oo0onolw. 
sy es 
The ithyphallic with the anacrusis y —-v —-—~, is the tetra- 
podia 1amb. cat, Ifa second ithyphallic follows this rhythm, 
without an anacrusis, the scheme of the Saturnine verse en- 
sues: 


— / —S _— 


a A ee ee — 


which the Romans used with great license. 
Sometimes the basis is prefixed to the ithyphallic, as Aesch. 
Agam. 367, 368. 
x—v - 


\ ~ 
Mos nhayav Eyovow stzteiv. 
le ~ , ~ 
ITapeott tovt0 y eSiyevou. 
or an iambic dipody : 


/ / = 


very frequently, as Aesch Agam. 192, 193. 
TTvout 8° ano Xcovpovosg podovoce 
Kazoozohot, viatibes, Svcoguot. 
The catalectic tripody, called monometer trochaic. hyper- 


cat. also serves frequently as a conclusion of lyrical rhythms : 
as Kur. Elec. 865. 


/ / 


ee eee ee Me Oe 


Kaddinor pdav éuo yoo. 


TROCHAIC RHYTHMS. 70 


— if 
With the anacrusis it is the tripodia iambica acat. »—v—» — 
Sometimes also it takes the basis, as Pind. Pyth. VIII. 6. 13. 
—-X / ry, 
Tv yao 10 waddaxdy eo&ou te nai madety omos. 


TTuo’ aisay eepedilor. xéodog dé pikzator. 


(4) The Tetrapody.— Tetrapodia trochaica. 
; 2 
—v—v—»—-~ acatalecta. 


w ww we we 


Vv 


—Veveae Y=) Gatalecties. 


we we vw we 


The former in the lyric poets, as Pind. Olymp. I. 7. 


/ / 


Mi& Oduunias ayora péotegor avdacouer. 

With the anacrusis it is the Pentapodia iamb. cat. 

The catalectic tetrapody is still more frequently found. 
It was called by the ancients AyxvO10r. It appears some- 
times singly, as Aeschyl. Agam. 1017. 

Niotw weer vooor, 
sometimes several times repeated, as Aesch. Eum. 331. 
"Yuvos & “Eouvor 
Asomos Gosvar, aDoouxtos, avora Bootois. 
sometimes connected with other rhythms, for example, with 
an iamb prefixed, Pind. Olymp. I. 11. 


TAK 


Mexcioar Téowvog éotlay, 
with the basis Eur. Iph. Aul. 238. 


xX / 


, A 
Tlevryxorta vavot Yovotars. 


With the anacrusis it is the Tetrapodia iamb, acat. 


Pip. TROCHAIC RHYTHMS. 


See eee ee YY oe 


(5) The Pentapody.—Pentapodia trochaca. 


: ES, 
a Vava Ym Vay Qoatalecta, 


v 


ie 
—\-»='—~“— eatalectica. 
Both more rare; the former, for example, Aesch. Agam. 
240. 


/ th / 


"EBaad Exaortov Gutjowr am ouwarog Beder qidolut—p. 


the latter, Pind. Olymp. IV. Epod. 8. 


Se ee Yee YY is VY oe YY Ce 


ie \ A , ib) >) , 
Prorra Se zat veors Ev avdoacw. 


(6) The Hexapody.—Hexapodia trochaica. 


i ee a Vi ee Sm Beatalecta, 


we w w ww wa w 


, v 


a ae ae ee Vie &! eatalectica, 


Both seldom occur; the former, as Pind. Olymp. I. 6. 


oe na / / 


a” , 3 € , x ay 3 , 
A1).0 SulmvortEegoy EY EUEOR PHEVLOY UOTOOY EOTMAS 


dv aidEeoos, 
the latter, Pind. Pyth. I. 1. 


wv IA an 


VPEVY ES ee YM a Ve VV UY oe 


y s: 
Meyadomohes @) SVOKKOG EI Budvmodéenov. 


IAMBIC RITYTHMS. he 


B. Rising, Iambic Rhythms. 


The iamb is the trochee reversed; it is triple-timed, and ris- 

wv 
ing, vv». The principal arsis falls upon the last two shorts, the 
last of which again has a stronger intensity (P. I. ch. 3. p. 12). 
Only the last two shorts can be contracted (P. I. ch. 5. p. 21). 

The iambic rhythm, as it belongs to the double kind, 1s 
less dignified than the anapaestic. It is more rapid and light- 
er on account of the livelier intensity of the arsis and. the 
shorter extension of the thesis (P. I. ch. 3. p. 13), but more 
forcible than the trochaic rhythm on account of the termina- 
tion upon the arsis (P. I. ch. 1. p. 8). By various modifica- 
tions, however, it is made sometimes more forcible and grave, 
sometimes weaker and lighter. 

If the rhythm is arranged by dipodies, then, for reasons 
above given (P. I. ch. 4. p. 17), the first thesis of every dipo- 
dy, may be converted into the irrational measure; hence in 
an iambic series to be measured by dipodies, the freer mea- 

=f 

sure ~~ — is always allowed in the uneven places (in sedi- 
bus imparibus). By measuring with dipodies and the fre- 
_ quent admission of the irrational time, the rhythm approach- 
es the anapaestic measure, and hence becomes graver and 
more dignified; by measuring with feet, and by the frequent 
resolution of the iamb, it becomes lighter and more rapid. 
A distinction, therefore, is made here, as in the trochaic 
rhythm, between light iambs, which are to be measured by 
feet, and which on account of their rapidity, were used by 
preference in lyric poems of the Aeolian style; and the grave 
kind proceeding by dipodies, which on account of their 
greater dignity, harmonize better with the Dorian mood. 

The irrational anapaest may, under certain conditions, 
stand in every place for an iamb. ‘The proceleusmatic, was 
entirely excluded by the Greeks, except in a few cases. 

The elder Roman dramatists permitted the licenses, allow- 
ed in the uneven places, in the even places also, with the 
exception of the last thesis, upon which another arsis follows, 
which they kept pure (P. I. ch. 4. p. 19). They also admit- 
ted the proceleusmatic, but more rarely, and usually in such 
a manner that it is concealed by the pronunciation : 


74 IAMBIC RHYTHMS. 





oe ee) | wuvy 


Iambic rhythms delight in principal and foot caesuras ; 
longer verses, as the tetrameter, have ordinarily the diaeresis 
in the middle. 

The catalexis is only in syllabam, and as it comes upon 
the thesis, it is less frequent than in trochaic verses (P. I. ch. 
¥-Ds aD). 

The most usual rhythms are the following : 


(1) The Monopody.—Monopodia iambica. 


It serves, like the trochaic monopody, as the basis before 
longer rhythms, as Pind. Olymp. I. 1. 


127 xX-/, _ 


Apistor nev Vdap, 6 bé yovoos aiOouEevoy v9. 

In Pindar it is found only in the form of the iamb, or the 
tribrach, and never doubled; it is also never interchanged 
with the trochaic basis. In the Aeolian lyric poets and the 
dramatists, it appears also as a spondee, as Eur. Jon. 190, 


201. 


alt feel fi 


Td0v tard wdoyoor. 
Koi war cov’ eb onoor. 
or dactyle, as Aesch. Sept. c. Th. 222. 


S/ SP, 


aoe VV aoe VY oe YY oe 


A oh 
‘Antouevoy avoi daiq. 


JIAMBIC RHYTHMS. 


(6) 


They may also be interchanged with the trochaic, and 
double it, as Soph. Oed. R. 463—466. 


ba Mie i 


ed 


Tis ort’ a Oeomenea Ashgis sine nét00 
AGONT EOONTOY TEhEcurTE Howwiatot YEQotr ; 


(2) The Dipody.—Dipodia iambica. 


wai fk 


(a) The Monometer.—Monometer vambicus. 
—~S; tod 


~—~—acatalectus. 
— / — 
-—» catalecticus. 

Sometimes systems, sometimes verses are composed of 


the dipody. The monometer was also used singly by the 
lyric poets, as Pind. Olymp. VII. 3. 


Awonoer a. 


In the comic poets it sometimes forms a kind of close, as 


Arist. Nub. 222. 
°Q Souoacres 
Q SewxparidSwv—ei pe uadeic, opnueoe ; 


The monometer is very frequently connected with other 
rhythms, as Soph. Aj. 622. 


/ X-—~7 


4%. ~ QA x” € , 
HT mov raha pev evtoopos aueoc. 
The catalectic monometer v —» (amphibrachys), is nothing 
else than the trochaic basis with the anacrusis. 
(b) The Dimeter.—Dimeter tambicus. 
—/ ef LS 


v—v—v—v~— acatalectus. 


— / _sjy— 


v—v—v»—~ catalecticus. 


16 IAMBIC RHYTHMS. 


The former occurs frequently in the lyric and dramatic 
poets, partly as a single verse, as Soph. Oed. R. 1386. 


x ~ 3 a) \ , 
fly tavd omwomeg ual ov ys, 


partly in connection with other rhythms, as Pind. Nem. V. 1. 


, —/ / / 7 


> >) a - ’ 

Ovz ardSorartozoos et, wot Ehivvoorta WM eoyatec Out 

> y, Gs / \ 
ayahuat é&@ avras Baduidos. 

The acatalectic dimeter often occurs in the writers of epo- 
des as an epode, particularly after an iambic trimeter, or 
heroic hexameter. 

In Aristophanes it sometimes forms a close after trochaic 
tetrameters, as Vesp. 1266, 1269, 1270. 

», ce ~ \ 
Tlodaxng 54° S08 guuvtm Sek mequxzévat, 
max ’ 
Kat czas ovdenwmore. 

Likewise it serves the Roman dramatists as a close, before 
and after longer iambic or trochaic verses, as ‘Terent. Andr. 
Ly Me Ao 

Auscilta paucis: ¢t quid te ego velim ét quod tu 
quaeris scies. — 
Auscilto, loquere, quid velis. 


The catalectic dimeter is commonly changed into the 
ay = 
catalectic tetrapody »----—»-—~, and so occurs as the close 
of the iambic systems. 
The Roman dramatists make use, though more rarely, of 
the catalectic dimeter as a close, as Terent. Hecyr. V. 1, 5. 
Aut ne quid faciam plus, quod post me minus fecisse 
satius sit, 
Agerédiar. Bacchis, salve. 


(c) The Trimeter.—Trimeter cambicus. 


—~/; —_—~y/ iw 4 i 
Yevus —vavay — acatalectus. 
—~y —/ Lat) Sel 


Vaveavovevov catalecticus. 


The acatalectic trimeter is used partly with other rhythms 
in lyrical poems, partly by the line. As a lyric verse, it com- 


IAMBIC RHYTHMS. Ga 


monly occurs lightly constructed, and with many resolutions, 
as Pratin. in Athen. XIV. p. 617. C. 


Tig 0 OoovBos ode; tiva cade TH YoQEVMUTE. 5 
Eur. Helen. 1117, 1118. 
‘Og Euoker Ewore media BapBuow mdaca, 
‘Og Woaue 600rve uchea Tpvapidas ayo, 
but sometimes also without resolutions, and with the appli- 


cation of the middle time, as sometimes in Pindar, who other- 
wise avoids all the current line verses, Nem. V. 4. 
Adpnwvos vies IIvdéag evovod erie. 

The lyric poets appear not to have allowed the anapaest; 
where it occurs, the verse must either be otherwise measu- 
red or it is corrupt (Comp. Hermann. Elem.). 

The Trim. 1amb. claudus, or Hipponacteus is a trimeter 
with the last foot reversed : 

—7 _7 -fI1- 

It occurs in satiric poetry only. 

As in the catalectic trimeter, so called, the first thesis of 
the third dipody never admits the middle time, it seems rather 
to be composed of a trochaic monom. with an anacrusis, and 
a following ithyphallic : 


— Ss — / — 


As such it often occurs in the chorusses of the dramatists, 
as Soph. Ant. 592. 
Story Boguovot 8 aveimdnyes aurai. 

So also it is used by Alem. in Athen. III. p. 111. A. 
Kiva per éxra uo toca tocmecdce 
Meazovridor aotwr émiorépoton, 

Airey TE, Cua TE IY MEkiyvos. 


(d) The Tetrameter.—Tetrameter iambicus. 
is -) —~s ae eas 
Vevevev—v—v—v—~— acatalectus. 
- —/ -/ -I1- 


a iY a eee OPEC CLIG ts, 
vhs 


78 IAMBIC RHYTHMS. 

The acatalectic tetrameter is employed by the dramatists 
as a lyric verse without a fixed caesura or diaeresis, often 
with many resolutions and lightly constructed, as Aesch. 
Suppl. 811. 


Avon, payima & inde, wareo, Blave py pideig opr. 
Soph. Oed. Col. 1076. 
Tay Sewe thacar, Sewe S evgovour moos avdutuor 2400, 
The Dorian lyric poets have it more rarely, as Pind. Olymp. 
v8 ie ss 
oid a? al al x ~ 
Luas yéyounta. Tdvnd yao avta thos ogethov émhedad. 
“ ~? 255 \ \ \ , 
wo Moto, adda ov xe Ovyatyo. 
The Aeolian lyric poets perhaps more frequently, as Alcae- 
us in Hephaestion : 
Acar we nomalorra, Sat, Aiccouat oe, Licoomct. 
The Romans use it by the line, in the dialogue of the 
drama; versus Boiscius or octonarius. 
As in the catalectic tetrameter, so called, the fourth dipody 


never admits the middle time, the verse is rather composed 
of an iambic dimeter and an iamb. tetrap. cat. 
-/ -/ -/) - 
Thus the Greek and Roman comic writers often use it by 
the line; Versus Septenarius or quadratus. Sometimes also 
it occurs singly as a lyric verse, as Soph. Electr. 1420. 


[ARs \ i eS a ~ ~ te 
TTodvogutoy yao aim VmESaIQOVEL TOY “TAVOYTOY. 


Longer combinations of the dipody are to be regarded as 
iambic systems. 


(3) The Tripody.—Tripodia iambica. 
v-»—-»— acatalecta. 


we ww w 
— / _— 


v—-—v catalectica. 


Ww UY 


IAMBIC RHYTHMS. 79 


The former serves sometimes in the lyric poets as the close 
of a rhythmical mass, as Pind. Olymp. IV. Epod. 10. 


‘Eowxote yoovor, 
but also occurs elsewhere singly, as Soph. Electr. 479. 
"Treoti wor Voacos, 
or connected with other rhythms, as Pind. Olymp. XIV. 10. 


Z / / 


lA 3 > ~. ls , ie 
Eoyov év ovearm, yovoortogov Oéuevar mud. 


It is found as a close after a catalectic trochaic tetrameter 
in Aristophanes, as Vesp. 339, 370. 


Ti, , ov 
(vo moopacw eyo. 
ALN Exaye tiv yvdSor. 


The catalectic tripody is the Monom. troch. cum anacrusi, 


(4) The Tetrapody.—Tetrapodia tambica. 


Pooh eat ey — acatalecta. 


ww we we ww 


Peer catalectica. | 


WI NAP 


Both are frequent in the lyric poets and dramatists, some- 
times singly, as Pind. Olymp. IV. Epod. 3. 


"Edvoer && atimias, 
Aesch. Agam. 120. 
BiaBevra Lows Fiov Seopor, 
Soph. Aj. 376. 
‘Eoeuvoy aiw eevee, 


sometimes in connection with other rhythms, as Aesch. 
Agam. 1156. 


To ycepuot yoo TIaoudog ode BQuor ido. 
Pind. Pyth. Il. 5. 


80 IAMBIC RHYTHMS. 


/ n if 


mame VY YY oY oe YY Oe 


Eva Téowv év & xoatéor 
vaouatos Léoov év @ uoatéor. 


(5) The Pentapody.—Pentapodia iambica. 
— i /; v 
vov—v—»—~— acatalecta. 
ae ~ 
vovov—v—~ catalectica. 
Both rather infrequent. For an example of the acatalectic, 
take Pratinas in Athen. XIV. p. 617. C. 


‘O & aviog voregor yooevéetor, 
of the catalectic Soph. Philoct. 1095. Aesch. Sept. c. Th. 
215. 

DV ToL Gv Tou xatNHSiooas. 

Tlodeos ty vmepg your adnar. 


(6) The Hexapody.—Hexapodia iambica. 
vovov—v—v—-»-— acatalecta. 
oe = 
vevevevov—»  catalectica. 

The former is not distinguished from the lightly construct- 
ed iambic trimeter, hence it is often doubtful whether such 
verses are to be measured by feet or dipodies. Pind. Olymp. 
I. 8, is to be taken as a hexapody, not as a trimeter : 


‘OSer 0 molvpatos vuvos augiBadrerau. 


The catalectic hexapody is only distinguished from what 
is called the catalectic trimeter, by the circumstance that 
the third thesis can never assume the middle time: where 
this distinguishing mark is wanting, therefore, it remains in 
most cases doubtful how the verse is to be taken. 


DACTYLIC RHYTHMS. 81 


CHAPTER II. 


RUYTHMS, THE GROUND FOOT OF WHICH IS FOUR-TIMED. THE 
EQUAL OR DACTYLIC-ANAPAESTIC KIND. 


A. Falling, Dactyliec Rhythms, 


(a) Rational Dactyls. 


The ground foot of the dactylic rhythm is four-timed and 
descending; the principal arsis rests upon the first two shorts 
which for reasons stated above (P. I. ch. 5. p. 20) appear 
almost always contracted ~~~, except perhaps in lyric poets 
in proper names, as Pind. Isthm. III. 63. 


"Eovet Tehectada. todwa yao eixods, 


comp. also Nem. VII. 70, and in dramatists in other cases 
also, although rarely, as Soph. Ant. 797. 
2: Cage rac 


Nougas, tar psyadov maoedoos &v aoyaic. 

The shorts in the thesis occur either resolved, or contract- 
ed ——(spondee). The resolution of the thesis renders the 
rhythm more rapid, the contraction slower and more solemn. 
The Dorian lyric poets usually contract the thesis in proper 
names only, as Pind. Olymp. XI. 99. The Aeolian lyric, 
the epic and dramatic poets admit the spondee also in other 
cases. ‘The character of the dactylic rhythm is quiet and 
dignified in consequence of the relation of equality between 
the intensity and extension (P. I. ch. 3. p. 11). The dactyl 
is, by its gentler fall, distinguished from the anapaest which, 
on the contrary, rises forcibly. 

The dactylic rhythm delights, according to P. I, ch. 11. p. 
39, in foot and principal caesuras; even diaereses are, in 
certain verses, not rare. The caesura is of a double kind, 
either after the long —|~-, the masculine, or after the first 
short —~|-+, the feminine, xaz« zor teoxaior. 

The acatalexis is rare on account of the want of a close. 


82 DACTYLIC RHYTHMS. 


The last short of an acatalectic dactyl may by a peculiar 
license be changed into a long (P. I. ch. 4. p. 19). 

The catalexis is either in disyllabum, terminating in thes), 
or in syllabam, terminating in arsi. 

The lyric poets often prefix to dactylic rhythms the ana- 
crusis, the trochaic or iambic basis. 

In the thesis it is allowed to shorten a long by the hiatus. 
The Roman poets, however, make very sparing use of this 
liberty, as Virg. Georg. I. 281. Aen. III. 211. Eclog. VIII. 
108. Hor. Sat. I. 9. 38. 


Ter sunt conati imponere Pe lio Ossam. 
Insulae Jonio in magno, quas dira Celaeno. 
Credimus, an qui amant, ipsi sibi somnia fingunt. 
Si me amas, inquit, paulo hic ades. Inteream si. 


The dactylic arsis, especially in the principal caesuras, has 
the power of lengthening a short syllable, and excusing an 
hiatus, as Hom. Il. I. 19. 24. 

 "Exagooo TIpucuow mod, ev 8 otxad (xéoO a. 
ALR ovn Azosidy Ayapneuvone qrSave Gvug. 

The lengthening by the arsis is in the lyric and dramatic 

poets very rare, as Soph. Ant. 134. 


ee a 


Avrizuna 8 éni ya méoe tartadodeis. 
Pind. Olymp. VI. 103. 


Me 
A ? , > \ \ i , 
comota movtouedor, evduy Os mhoov xamator, 


comp. also Pyth. TX. 114. 


The Latin poets, too, sometimes, though more rarely than 
the Greek, used in the arsis a short as if it were long, as Virg. 
Ecl. X. 69. Aen. V. 521. IV. 64. 


Omnia vincit A mor et nos cedamus Amori. 


Ostentans artemque pate r arcumque sonantem. 
Pectoribus inhians spirantia consulit exta. 


and allowed the hiatus in the arsis, as Virg. Hcl. IL. 24. Aen. 
IV. 667. Ecl. ITT. 6. 

Amphion Dircaeusin Actaeo Aracyntho. 

Lamentis gemituque et femineo ululatu. 

Et succus pecori et lac subducitur agnis, 


DACTYLIC RHYTHMS. 83 


The following measures are the most common : 


(1) The Monopody, or the Monometer. 


vw 


Wherever the monometer occurs, it is the resolution of the 
iambic basis, and therefore to be measured as an lamb, as 
Eur. Iph. Aul. 168. 


al vw 7s 


—vv vey ~+v— (Glycon. polysch.) 
Xuduida modw —ucy mookuove . 


(2) The Dipody, or the Dimeter. 


tA 
—v-—-» acatalectus. 
3 9 


—vv—~»  catalecticus in disyllabum. 
---—  catalecticus in syllabam. 


The acatalectic dimeter is found in systems only ; where 
, w 
it occurs singly, it is logacedic —-vv—~-. 

The dimeter catalect. in disyllabum is the versus Adonius 
so called. It is frequently found single, especially as a closing 


rhythm, as Soph. Aj. 409. 

Xewot povevou, 
and so it serves as epode in the Sapphic strophe. It is also 
repeated, as Pind. Nem. Il. 5. 


Z —" 7, 


Ey nodvuprnto Aws adost, 


or joined with other rhythms, as Soph. Aj. 182. 


, 


Mayavaig étiouto AwBar. 


It frequently receives the anacrusis : 


—S _ 


Sam WY Ww am VW 


as Soph. Oed. R. 896. 
Ti Set ws yoosver. 


84 DACTYLIC RHYTHMS. 


7, - 

With the basis —-v —-v- —~ it is the Pherecratean, of which 
below. 

The dimeter catal. in syllabam resembles the choriamb, 
from which it is distinguished by the pause alone, and by the 
circumstance that the iambic dipody can never be placed in 
its stead. 


(3) The Tripody, or the Trimeter. 
t 
—vv—vv—-~ acatalectus. 
—vv—vv—-~ catalecticus in disyllabum. 


-7 v 


—vv-—v-—  catalecticus in syllabam. 
The acatalectic trimeter does not occur; where it seems 


v 


to occur, it is to be measured as logaoedic, -v-» -v+—~-. 
The dimeter cat. in disyllabum is very frequent in lyric 
and dramatic poets, both singly, as Pind. Olymp. X. Ep. 3. 
Advpehy xedadjoo. 
Soph. Trach. 96. 
"Ahiov “Alwoy waite. 
and joined with other rhythms, as Eur. Med. 977. 


/ / 


> , , \ by , ay 
Ovuett* oteiyovot yao & Povo 70N. 
Sometimes it is repeated, as Soph. Trach. 112 and 122: 


7 _ 


YU me VV ae V VY ee YY ee 


\ * T xv 
Tlodia yao wor axauartos 4 Notov 7 Boogéa zs. 
‘Py enmenqoneva o adsia per, cvtia 8 oicw. 
Pind. Olymp. VIII. Epod. 5. 
S: 63 ~ \ ” p] Ps \ Fy 35 7 
Fy 3 ssooav xadog, coy t ov xara Eidos éheyyor, 
apparently a dactylic hexameter; the third foot, however, 


can never be a dactyl. 
The trimeter cat. in disyll. receives also the anacrusis : 
—_— / a 


OS ee OY eee WY OY ae VY 


as Soph. Oed. R. 154. 


DACTYLIC RHYTHMS. 85 


‘Tye, Mads, Tawar. 
and the basis : 
PY - 
as Aesch. Suppl. 85. 
os ~ 
Et Getn Ms ev navadndos. 


The trimeter cat. in syllab. (zerOyummeoes dactylicum) oc- 
curs partly as a single verse, as Pind. Olymp. VIII. 5. 


Maopévor peyadar, 


and the writers of epodes thus use it as an epode; partly 
joined with other rhythms, as 
Ls owed: 
vav—v—vy—ve— jambelegus. 
TIoazov pev evBovdov Ogu ovpariar. 
, 7 / 
mvvnyvnvnv———vy—vv— Platonicum. 
The comic poet Plato in Heph. 


Xaives, rahaoyovoy avdoav Geatovr EvAdoye ravtocogar. 
/ eae 
Choerilus made a peculiar use of this rhythm in the Satyr 
drama. But it occurs in other poets, also, as Aesch. Prom.. 
530. 


/ / / 


, 
MiyS shivvoaiu Geovs oclug oivas motwiooopEerce. 


The repetition of the cat. in syll. produces the elegiac pen- 
tameter so called: 
t= ms / ¥ 
which with the hexameter forms the elegiac distich. This 
combination does not occur in Pindar, but in dramatists, as 
Aesch. Agam. 1022.. 


Ovdé cov 600 08ay THY Perry avayew. 
The trimet. cat. in syll. also receives the anacrusis, as Eur. 
Electr. 862. 
Nixag oreparypogiar, 
and the basis, as Aesch. Eum. 1033. 
8 


86. DACTYLIC RHYTHMS. 


X , ‘ 


Se ee ee 


Noutos raises anades, vm evOvqoor mouze. 
(4) The Tetrapody, or the Tetrameter. 
/ 


—vyovy—vv—~~ acatalectus. 

; = 

—vv—vy—v~—~ catalecticus in disyllabum. 
/ 

—vv—vy—~-~-— catalecticus in syllabam. 

The acatalectic tetrameter occurs in the Aeolian lyric po- 
ets and the dramatists, repeated by systems. It frequently 
occurs in dramatists singly, or joined with other rhythms, as 
Soph. Phil. 827. 

"Tar, odvvacs adans, vave 8 ahyewr- 
in Latin, also, as Terent. Andr. IV. 1, 1. 
Hoccine credibile aut memorabile, 
after which cretics follow. 

The acatalectic tetrameter is also repeated, as Aesch. Pers. 

852. 
°Q nonol, 4 mEyddas ayadas TE Moluccovonou BiotEs 
EMEXVOTMMED. 

The tetramet. cat. in disyll. and in syll. occurs frequently 

in lyric and dramatic poets, as Soph. Oed. R. 175. 
/ / = 


SY ame YY aoe V 


eee Oe a ee YY ee 


; nv 4 LA 4 4 
"Aiiov 8 ay GAM moosiSolg ED evmTEQOY OOYYD. 


Ping PytholV<6. 


/ VA / 


eee Oe Oe Ve 


~ ~ ie 
Xojoer oixiotjoa Bartoy xapnzogooo AiBvas, tepay. 
Both can receive the anacrusis and basis. 


(5) The Pentapody, or the Pentameter. 


/ 
—vv-vy—ve—vv—~~ acatalectus. 


/ 
—vvavv—ve—~~—~ catalect. in disyllab. 


v3 vd 


—vvavvavy—vv— catalect. in syllab. 


DACTYLIC RHYTHMS. 87 


It seems that the acatalectic pentameter does not occur. 
The pentameter cat. in disyll. occurs in dramatic and lyric 
poets, as Arist. Nub. 285. 
"Oupa yao aides axanatoy cehaysizat, 
Aesch. Agam. 121. 
Ailwor, aiiwoy simi, tO 8 ev vinaro. 
Soph. Phil. 837, 
Katoos tor rervtoy yromar ioyor. 
The catal. in syll., too, is met with in lyric and dramatic 
poets, as Soph. Aj. 225. 
Tov peyahov Aavady imo xdiyloperar, 
with the anacrusis, Soph. Phil. 695. 


7 ra 


ae ee Te ele Nia ey ek , 
IIag @ orovor artitvmoy Pagupowt umoxhavostev 
4 
CLIMATHOOY. 


(6) The Hexapody, or the Hexameter. 
if i 
—yvovenvyn—vv—vy—~e acatalectus. 
; a 
—vvnvvavvnavy—ve—~ catalect. in disyll. 
/ 
—vvavvnvy—vv—~e— catalect. in syll. 

The acatalectic hexameter is found in systems only. 

The hexameter cat. in disyllab. is the most common metre. 
The epic poets use it by the line, whence it is called versus 
heroicus, or the epic hexameter. 

The lyric and dramatic poets, too, make use of this verse, 
but singly among other rhythms. Sometimes several follow 
one another, as Soph. Trach. 1009—1013. Eurip. Troad. 
590—599. Such a lyric hexameter usually has the caesura 
after the third arsis, as Soph. Oed. R. 159. 


Tloara ce xexdouevos, Ovyateo Aws, éuBoot “ADEara. 
The caesura, however, is not indispensable, Eur. Suppl. 
274, 
Ovs v0 teizyect Kadusiowow antokece xovpovs. 
This lyric hexameter usually admits the spondee in proper 
names only. 


88 DACTYLIC RHYTHMS. 


It has sometimes the basis, as Aesch. Pers. 864. 
‘Oooag © side 2odeg, mogov ov SiaBas “Advog motamoio. 


An apparent hexameter is produced, when a dimeter cat. 
in disyll. is joined with a tetrameter cat. in disyll., as Eur. 
Phoen. 799. 

. Uh —=7 _ 
Aiwatt OnBas: zomor avavdoratoy moozoosvats, 
or two trimetri cat. in disyll. 
/ — / — 
which rhythm even Pindar has, though he does not otherwise 
use the hexameter. 

Through the inversion of the last foot of the hexameter, a 

hexameter usiovgos, so called, arises : 


ee ee ee ee 


The hexameter cat. in syll. does not appear to have been 
in use. The union of the trimet. cat. in disyll. with the tri- 
met. cat. in syll. produces, in appearance, such a verse, as 


Pind. Pith. LI. Epod. 7. 


"Eott dé pvdov év ayPowmott waraoraror. 
The third foot is never allowed to be a dactyl, whence the 
combination is apparent. 

Longer dactylic series, which are mentioned by gramma- 
rians, as the heptameter cat. in disyll. (versus Stesichorius, 
Serv.), octameter cat. in syll. (versus Ibycius, Serv.), and the 
octameter cat. in disyll. seem to be either combinations, or 
portions of dactylic systems. 


(b) Irrational Dactyls. 


Logaoedic Series. 


The irrational dactyl differs from the rational by the less 
extension and greater intensity of the arsis (P. I. ch. 4. p. 
19). It thereby approaches to the trochaic rhythm, and, 
therefore, easily unites with it. Such dactylic-trochaic verses 
were, on account of their greater approximation to the rhythm 
of common language, called logaoedic (AoyaowWor). The 
shorts of the dactylic thesis are rarely contracted, because 
the greater rapidity which distinguishes the irrational from 
the rational dactyl, would thereby be lost. In the trochees 


DACTYLIC RHYTHMS. 89 


the long is not used for the short; resolutions, however, of 
the trochaic arsis, especially in the odd places, are not infre- 
quent. : 7 
Since the logaoedic, like the rational dactyls, are measured 

by feet alone, and the number of feet both of the dactylic se- 
ries and trochaic (measured by feet), never exceeds six, it is 
apparent that the logaoedic series, also, standing between the 
two, have never more than six feet at most. Hence it fol- 
lows that the number of the dactyls is always in the, inverse 
ratio to that of the trochees. Logaoedic series in which the 
number of dactyls is equal to that of the trochees, are exclud- 
ed from Dorian poetry : 

; = 

: = 


wee ee ee Yee YY eee 


Logaoedic series, in which the trochees are in too unequal 
a ratio to the dactyls, do not frequently occur : 
ip — 


ee ee 


The termination in trochees is, indeed, common in irra- 
tional dactyls, yet many dactylic rhythms occur, used chiefly 
by Aeolian lyric poets by the line, without a trochaic termina- 
tion, with a basis which, because in them the dactyl never 
appears as a spondee, seem likewise to be irrational. ‘The 
basis is treated freely, in the Aeolian manner. 

The following are the Aeolian verses, so called : 

x-—~7 _ 
1, ---—vv—~~-—v~~ trimeter acatalectus. 


Xx-—~7 - 
2. -y-vy—--+y—~  trimeter catal. in disyllab. 


xX—~, — 
3. -vo-vy—vy—vy—v~ tetrameter acatal. 


X—~7 ( 
4, —v—vv—v+—vv—~  tetramet. cat. in disyll. 


x—~, = 

fees | res SND cred NP ING ee ig ee pentamet. cat. in disyll. 
sy > , 

id émog Alodxor. 


Or 


- 


R* 


90 DACTYLIC RHYTHMS. 
Of the logaoedic dactyls the following are in use: 


(1) Logaoedic dactyls with a simple dactyl. 
(a) Dactylicus simplex simpliciter trochaicus. 


~v-—-~ acatalectus. 
—--— catalecticus. 
The former is the versus Adonius, the latter the choriamb. 
The Adonian with the basis forms the Pherecratean, 
x — 


v 


which in glyconic systems forms the close; but it can also 
be repeated by systems. It occurs not infrequently, in lyric 


and dramatic poets, singly, as Pind. Olymp. I. 4. Eur. Hipp. 
546. 


"ElSect gthov 709. 
Tladov alvya déxtpor. 
or in connexion with other rhythms, as Pind. Isthm. VI. 5. 
> Soe x oP. ae / x 


my, ae: , a es i see = , ‘4, , , 
Ayrreas Movvoor, 1 yovom wecorvatioy vigorta Seapever 
Tov pEotator DEwr. 
It is also repeated twice or thrice, as Aesch. Pers. 556. 
fh te V¢ or ts y 4 
oSaozos modujtaig Lovoidog qihos axtog. 
Eur. Herc. fur. 359. 
~ \ J , ~ > > 
Tlearov perv Aws &doos jojyuwoe LEovtos, avecov 5 age. 
xahugon. 


(b) Dactylicus simplex dupliciter trochaicus. 
: a 
—v--—-»~-- acatalectus. 
, a 
—vv—~-— catalecticus. 


The former is very common in lyric and dramatic poets, 
especially as the closing rhythm, as Pind. Pyth. IL. 8. 


Botikie anh pen Meee SoMa ON PAREN , 
Keivas cyavuiow &v yeoot mowmidaviovs edauacoe mwdovs. 
Aesch. Prom. 906. 


DACTYLIC RHYTHMS. 9] 


, / ros 
Tav Mog yao ody 000 mAtw Ona Qryow av. 
It frequently receives the anacrusis, Soph. Trach. 957. 


My raoBaden Favouut, 
or the basis, 
x—/ - 
a Glyconeus hypercatalectus, so called, as Aesch. Choeph. 
793. 811. 
Tladivnowa Géhov ausiwer. 


"Oupact Sropegas xahvaroas. 
According to Hephaestion this rhythm was called Sapphi- 
cum enneasyllabum or Hipponacteum : 
Kai xvicoyn twa Oumynsas. 
With the iambic or trochaic basis it is the Pindaricum 


hendecasyllabum, so called: 
1X - 

‘O Movoayéras pe xadet yooevoutt. 
With a preceding trochaic dipody it is the Sapphic verse, 
versus Sapphicus hendecasyllabus, of which the sapphic stro- 
phe is composed : 

Tlownidodoor, aavar Agoosdiza. 

If to this rhythm the anacrusis is added, the Alcaicum 

dodecasyllabum is produced : 

‘Lomhox ayva meduyoueWs Saunoi. 


If a cretic follows this measure, the epionicum tetrame- 
trum catalecticum, so called, is formed. 
— —~y =<, 7 vu 


me ee Yee ee YY ee YY oe 


Towvrog sig Ojbus mis apuateco oxjmEVos. 


92 DACTYLIC RHYTHMS. 


The catalectic is likewise very frequent, as Eur. Med. 847 
"H mh 7 gihov. 
Pind. Olymp. II. Epod. 1. 


, 
v 


_—_— ee ee I eae 


Aoing yever. tov Sé mempaypevorr. 


If a trochaic dipody with the anacrusis is prefixed, the 
Alcaicus hendecasyllabus is formed : 


Avak Anoddor, mai weyddo Avs, 
the principal verse of the Alcaic strophe. 
The catalectic frequently receives the anacrusis : 


baaceanty 


CB 


Soph. Oed. R. 1186. Pind. Pyth. VIL. 6. 


1a yeveat Bootwyr. 
Natort ovvuakopc. 
With the basis it is the glyconic : 
> GY, x 


Vv 


This dactylic form of the glyconic is the original and 
pure, as Dorian lyric poetry uses it exclusively. In Pindar 
the bases are not changed; resolutions are frequent. 

Pyth. VIII. Epod. 5. 


(a ?, Gay 


ee 


Zevaozeioy eexto Kiohuder eoteq~arvwmevoy. 
Xn os 
Wal: Ui ee 
Didopoor Acvyta, Ainas. 
Rs ey A 
v. 2. =i as tap 
°Q wenoromod Ovyareo. 
Xa / nt 


Pyth. VI. Es Veuve ev eve ve 
Avanolifouer, oupador EotBoomov. 


DACTYLIC RHYTHMS. 93 


The dramatists, too, have this dactylic glyconic, partly 
singly among other similar measures, as Aesch. Agam. 152. 


Voce ‘ fe 
Netzewv téxt0va CUMMUTOY, 


partly in systems the close of which is formed by the Phere- 
eratean. ‘The Ionian lyric poets, too, have such systems of 
pure glyconics, which close with a Pherecratean. Besides 
this dactylic glyconic there is yet another of choriambic 
rhythm which admits the middle time in the thesis of the 
closing iamb, 
7 = 

in the basis allows bolder rhythms, and admits polyschematist 
forms. ‘The dramatists use it both singly and in systems. 

The glyconic is frequently united with the Pherecratean 
in one verse, as Aesch. Suppl. 686. 

ar, x - 
Evperns 8 0 Avusiog éotw me&om veohuice. 

If such a verse is used by the line, it is called a Priapean, 
versus Priapeus. 

Sometimes an anacrusis precedes the basis of the glyconic. 

tae. SY 


as Soph. Electr. 474. 
Kai yroduas deitopeva. copas, 
or an iambic monometer ; 
=i 9, ke 2 
veveomvave—v— Alemaicum dodecasyllabum. 
Kolay o &é&arP ayvat yaoures Kove. 


(c) Dactylicus simplex tripliciter trochaicus. 

‘ a 

—vv—-v—--—-~ acatalectus. 

/ v 

—vv-—v-»—  catalecticus. 
The former occurs singly, as Soph. Oed. Col. 130. 
Kai rapapepousc® adéoxutos: 
with the anacrusis. 


_— / —_ 


ie YY we Ve YY oe 


94 DACTYLIC RHYTHMS. 


Pind, Nem. 1f..2, 

Pantoy énéwv camoad caodol. 
Sappho in Heph. 

TThions pév epaive?? & oehava. 

Ai § wg mepi Bopor éoradyour. 

With the basis it is the Phalaccean verse, versus Phalae- 
ceus hendecasyllabus. 
x-—~v, _— 


which is used by the line, especially by Roman lyric poets. It 
occurs, however, singly, too, as Soph. Phil. 136, 151. 
Lreyev; tt Leyew mo0¢ avde va0ntay ; 
Doovpety Ou emt o@ Uahiota nag, 
and joined with other rhythms, as Pind. Nem. VII. Epod. 5. 
XA / XA lh I 
Aoyor Odvoceos 7 muder Sue tov advenh yevéc® “Oujoor. 
If an anacrusis precedes the phalaecean verse, the follow- 
ing metre is formed : 
—xX , —_— 
which Hephaestion considers Ionic with the anaclasis. He 
quotes as an example: 


"Eye pev Ardponeda xadav auoiBar. 
Lunpoi, ti tav modvohBov Apoodizar. 
The catalectic, too, is very frequent, as Aesch. Suppl. 101. 


ce vy v vu v 


Avrover &énpaker tunas, ouvov ep ayvor. 
Anacreon uses it with an ithyphallic following : 
/ A — 
Tov hvpomowr jooujy Stoartzw, & xoujoet. 
Sometimes it receives the anacrusis, as Eur. Alc. 443. 
, , 


vv v Vv vv v 


> 
Aipvay Azeoortiay mogevous thata Siuodma, 
or the basis, as Pind. Nem. III. Epod. 2. 


DACTYLIC RHYTHMS. 95 


al Xa iz / 


GG YY ee Yee YOY VY ee MV OV ee Vee YY ee ee YY Ce 


Anos vymjoor ey ys Baduadd@ Neuse co xaddivixoy pgeoet. 


(d) Dactylicus simplex quadrupliciter trochaicus. 
, = 
—vv—v—v—~+—-~ acatalectus. 
7 v 
—vvy—-v—v—~—  catalecticus. 


The former occurs seldom, as, with a double iambic basis, 
Soph. Oed. R. 463. 
—/—-s 7 - 
Tis ovtew a Veoméinsa Aelgis eine nézo0, 
AGbnt &bOnTOY TEeléecurta powiact YEool? ; 
The catalectic is more frequent, as Pind. Isthm. VI. 2. 


Sr Ah / 


Kahoyv imiyooior wadiota Ovuor reor. 
ee 
Epod. 1. —vavynynvne 
7 € , b] eA 4 
Mupior éraowr é¢ Aoyos amor. 


(2) Logaoedic series with a double dactyl. 


(a) Dactylicus duplex simpliciter trochaicus. 


, 


—vv—--—- acatalectus, 
—vv—-~-— catalecticus, 


do not differ from the trimeter dactyl. cat. in disyll. and in 
syllabam. 


(b) Dactylicus duplex dupliciter trochaicus. 


; = 
—vv—vv—~-—-~ acatalectus. 
; . 
—vv-vy—--— catalecticus. 
The former is the versus decasyllabus Alcaicus, so called, 
and occurs as the closing verse of the Alcaic strophe. 


, > JME SAS ~ ~ 
Kai cg én eoyariaiow otzeis. 
Virginibus puerisque canto. 


96 


DACTYLIC RHYTHMS. 


Pindar does not use this rhythm, but it is found in the 
dramatists, as Eur, Rhes. 536. 


/ / 


x a A 
Piyverat, xat tig 200 Sour ods y sot cory. 

With a preceding monometer troch. with an anacrusis: 
. . ’ 
Simonides: -Arw20,vkav xiocoqopors eat SvOvoduPore. 

As an example of the catalectic verse take Aesch. Prom. 
165. 

/ , 1 


eee eee ee YO ee YY Oe 


, \ N x N 
Devvav’ ovde rjSe mow av 7 xoggon xeao. 


(c) Dactylicus duplex tripliciter trochaicus. 


/ 


—vvevv—v—~--~ acatalectus. 


v4 v 


SS ee VOY ee YY ae YY oe 


- catalecticus. 
The former, as Soph. Electr. 1413. 


yi as ~ 
Q mols, w yevee TULUIVG, VOY C8. 


Pind. Nem. V. 2. 


/ / 


ee eee Oe i Ve we 


Eotaot. av ini neous oluddos vy F andre, yhunet’ cowWE, 
the latter, Soph. Electr. 1414. 


Moioa xadaueoia pOiver, poivet. 
Pind. Nem, Vi. 7. 


—~/ Vv 


Smee Oe Oe Yee YY ee 


4 , ~ A 
Oiur tw” éyoawe Soausiy mot oraduar. 


(d) Dactylicus duplex quadrupliciter trochaicus. 


/ 


—vy-vy—v—+—~-—~ acatalectus. 
, v 


eee (VY OY ee VY OV ee VY oe VY 


—~— catalecticus. 

Both doubtful; the acatalectic may be considered as a 
trimeter cat. in disyll. with an ithyphallic, the catalectic as a 
trimet. cat. in disyll. with a troch. cat. tripody. 


DACTYLIC RHYTHMS. 97 


(3) Lagaoedic series with a triple dactyl. 


(a) Dactylicus triplex simpliciter trochaicus. 


, 


~vvevv—vv-—-~ acatalectus. 


v 


/ 
—_vvevv—vv— catalecticus: 


They do not differ from the tetrameter dact. cat. in disyll. 
and in syllab. 


(b) Dactylicus triplex dupliciter trochaicus. 
vg — 
—vvaven-vy—~—~ acatalectus. 


Ms 


/ 
avvaeveevvu—v— catalecticus. 


The former is the versus Praxilleus : 
I ~ \ 
Q dia cov OvoiS@v zahov éuBLeroioa, 
, A \ \ ofa A i 
Tlaoteve tar xeqahar, ta 8 events vuupea. 


Pindar does not use it, but it is found in the dramatists, as 
Soph. Ant. 134, 135. 
Ayvtizuna 8 éni y& méoe tartadlodeis 
TIveqogos, 6g tote mawvoneree Evy ogué. 
With the anacrusis it is the versus Archebuleus, which 
the Alexandrians used by the line: 


ww 
— - — 


OS mee YOY ee OY OV ee VY OV ee YY oe VY 


The dramatists and Pindar have the catalectic, as Aesch. 
Agam. 145. 
» xX 


Ack wey xatapouga dé paouata orpovdor. 
PindeiPy the X1 ak 


* 


2, eet i 


eee Oe Be Vee MV ee 


+ A ~ 
Kaduov HOD CL, SEUELM Mev ‘Ohupmiador CYVLATIS. 


(4) Logaoedic series with a quadruple dactyl. 


Of these the dactylicus quadruplex dupliciter troch. acat. 
alone seems to have been in use, as Aesch. Prom. 165. 
a 


98 ANAPAESTIC RHYTHMS. 


4 _— 


\ , A SN: 
FT roleue tui cay Svocdwror ely ws dozer, 


with the basis Telestes in Athen. XIV. 617. F. 
xX / mae 


mee ee Oe ee Ve ee 


c A , ” eZ > > 
A yuo nmugteviay ayapoy nat unud anévaue Kodo. 


B. Rising, Anapaestic Rhythms. 
(1) Rational Anapaests. 

The anapaest is the reversed dactyl ~~~. Belonging to 
the equal kind it shares with the dactyl in the character of 
dignity and force, but being a rising rhythm, is more lively 
than the other (P. T ch, 1p; 8), But: 1s. character 16 
changed according to the various modifications of which its 
measure is capable. ‘The lyric poets commonly used the ana- 
paest in such a manner as to leave it its original form, and 
to avoid even the contraction into the spondee as far as 
possible. ‘The Dorians made a peculiar use of the anapaes- 
tic rhythm. ‘They used it for military marching songs (é&u- 
Partyou), in which they permitted the contraction of the 
thesis. The tragic poets treated the anapaest in systems 
with more freedom, admitting the dactyl for the anapaest 

wv 
-vv, The comic poets employed, though seldom, even the 
proceleusmatic ~~~. 

The caesura which happens on the thesis, would weaken 
the rhythm; on this account anapaestic series delight in the 
masculine diaeresis (P. I. ch. 11. p. 39). 

; = 

The catalexis is in syllabam alone vv —v~ —v»—~ (P. I. ch. 
Cia eae 7 B 

The shortening of the long by the hiatus is permitted not 
only in the two shorts of the thesis, as Aesch. Pers. 39. 


Kai éhewBara vady eperat, 
Aristoph. Nub. 352. 
Avzor eSaipyns &yevorto, 
but also, though more rarely, in the two shorts of the dactyl 
which stands for the anapaest, as Eur. Hec. 125. Aesch. 


Pers. 69. 


ANAPAESTIC RHYTHMS. 99 


To Onoeida 8, 06a Adve. 
Oiyetas ardoor. 
Anapaestic series.are measured partly by feet, partly by 


dipodies. The former are more rapid, and therefore rarely 
have the contraction of the thesis. 


(1) The Monopody.—Monopodia anapaestica. 


It is frequently prefixed to other rhythms as an introduc- 
tion, as Pind. Nem. VI. 5. 


eet A 
DI pe NPP See WI) fees 


Noov 7z0t puow adavarors. 
Eur. Herc. fur. 680. 


RP xX. oF 


"Ex tav Hoaxhéovs xaddivinov asioo. 
If the anapaest stands for the trochaic basis, it is to be 
me 
measured as a trochee vv~—, as Arist. Ran. 1322. 
Xan / 
vy—-—vv—v— (Glyconeus.) 
Tleipadd, o céxvor, whevas. 


(2) The Dipody.—Dipodia anapaestica. 


(a) The Monometer.—Monometer anapaesticus. 
_ Sf _ 


vv—v-v— acatalectus. 


is etc catalecticus. 
Of dipodies, sometimes verses, sometimes systems are com- 
posed. 
The monometer is either used singly among dimeters, 
basis anapaestica, or it occurs singly in the lyric and dra- 
matic poets, or im connection with other rhythms, as Pind. 


Olymp. XI. Epod. 6. 


100 ANAPAESTIC RHYTHMS. 


‘A yihet Tlatooxdos. 
Anodésd’ etogor. 
Aeschyl. Pers. 72. 
th / / / — 
Ad apartidog "EdLas, nodvyougor odicpa Cvyor aupisa- 
Awy uvyere movrov. 


, 


The catalectic monometer ~- —~ (Paeon tertius) is used be- 
fore other rhythms as an introduction; a basis with an ana- 
paestic anacrusis, as Pind. Pyth. TX. 1. 

Yt a Of 


Ome ee ae MI ee 


Eso yahuaonida Tv Ovovinar. 


(b) The Dimeter.—Dimeter anapaesticus. 


vuaevv—vv—vv— acatalectus. 


Sipe Sw lene aw catalecticus. 


The former is the principal element of anapaestic systems. 
It occurs, however, singly also among other rhythms, as Soph. 


Oed. R. 469, 470. 
"Evomhos yao én avrov emer O-owoxst 
TTvpi “Ol orepomais 0 Mog yeréras. 
With the arses resolved, some metrical writers have called 


it after Hephaestion, Proceleusmaticum tetrametrum Aristo- 
phaneum. 


Tis doe Budvzoua tad éméovto Byotor. 
The catalectic dimeter or the parocmiac is sometimes used 
by the line, sometimes serves as the close of anapaestic 


systems, and sometimes occurs singly among other rhythms, 
as Soph. Philoct. 1135. 


Tlodupnyevov avdoog &oeooy. 
Pind. Pyth II. 4. 


, R ba 


OG me Oe ee ee Ye ee 


Meéhog foyouce ayyeliny tetoaogiag éhediySovog. 


ANAPAESTIC RHYLHMS. 101 


(c) The Trimeter.—Trimeter anapaesticus. 
Se PS a a oa 
ve nvvaevy vee —e~— acatalectus. 
—f- =—-7- —— 
vy ovvovenve—yy—~ catalecticus. 


Instances of the former cannot with certainty be pointed 
out; the latter was used by the line, among the Spartans, as 
a marching rhythm, versus Messenicus. 


(d) The Tetrameter.—Tetrameter anapaesticus. 
-—sy= i OT, A SS 
FIG a RIE sees FINN cose NANI recat WIT ND gee ONAN eae SR ND es ND) A acatalectus. 
- f= -s- _syr _ /— 


SANDS esi Nt GR ag NP Gd Pease WIN A ces NBs es al a) Ns pa catalecticus. 


The acatalectic is found repeated by the line in the Ro- 
man comic writers. ‘The Spartans used the catalectic by 
the line in marching songs, and the comedians, particularly 
Aristophanes, employed it very frequently. 


(3) The Tripody.—Tripodia anapaestica. 
/ 
vvavv—vv— acatalecta. 
F = 
wag aera catalectica. 


Both appear in combination with other rhythms, as Pind. 
Nem. VI. 4. 


/ Mn = a! 


Mévat oteaves. ahha tt moospéoomer Eurrar 7 méyor. 
Soph. Phil. 1178. 


/ , 


Diha Mol, PLU THUTH MAI Y YEAS, EXOVTL TE MOKOOEW. 
Pind. Olymp. XIII. 1. 
Towwokvumortxar. 


(4) The Tetrapody.— Tetrapodia anapaestica. 


/ 
vy ovvnvy—vr— acatalecta, 
Q* 


102 ANAPAESTIC RHYTHMS. 


/ — 
vy-ve—vy—~  catalectica, 
are not distinguished from the acatalectic and catalectic 
dimeter. 


(5) The Pentapody.—Pentapodia anapaestica. 
{4 
vy avvovenvy—-+~— acatalecta. 
: a 
COM eh ig ee ee a a Wg catalectica. 


Very rare; for an example of the acatalectic take Arist. 
Acharn. 285. 


Dé wey ovy narakevoousr, © wiaod nEepaadn, 
and of the catalectic, Eur. Herc. fur. 1018. 
Tore Mev MEQLGUMOTATOS xaL KELOTOS. 


(6) The Hexapody.—Hexapodia anapaestica. 
/ 3 

ve avenyyenven—vy—vy— acatalecta, 

vvaeveunveave—ve—e — catalectica, 
are not to be distinguished from the acatalectic and the cat- 
alectic trimeter. According to Servius, the former was 
used by Stesichorus, hence called metrum Stesichorium, the 
latter by Aleman, hence called metrum Alcmanium. 

The longer anapaestic metres, which Servius mentions: 
the Simonideum, a trimeter hypercatalectic., so called, or a 
heptapod. cat., the Alcmanium, a tetrameter brachye. so called, 
or a heptapodia acat. and the Aristophanium, or the tetram. 
acat. or octapodia acat. seem to rest on erroneous divisions. 


(2) Irrational Anapaests. 
Logaoedic Series. 


The irrational anapaest is distinguished from the rational, 
as the irrational dactyle is from the rational, namely by the 
smaller extension, and the stronger intensity of the arsis (P. 
I. ch. 4. p. 17). It thus approaches the iambic rhythm and 
is therefore readily combined with it. Such anapaestic iam-. 
bic series are called logaoedic, Loyaowdtxoi. 

The cyclic anapaests, so called, are analogous to the irra- 


ANAPAESTIC RHYTHMS. 103 


tional dactyles, which do not end in trochees. They are 
not measured by dipodies, and may usually be recognized 
by the caesura. ‘The thesis seems to be rarely contracted, 
and the substitution of the dactyle and proceleusmatic could 
not be allowed on account of the irrational arsis. 

The grammarians class also Trim. dactyl. cat. in disyll. 
with the anacrusis, which they call egOyuimeogs, among the 
cyclic anapaests, either because in some poets, it might in 
reality take also the anapaestic anacrusis, or because such 
verses as 

Eoéa, m0 pidtad éraiowr, 

Didgew orvyvov 2EQ eorte, 
where é0é0, pidge are to be read as dissyllables, led to the 
mistaken supposition that the verse begins with the anapaes- 
tic anacrusis. As an example of such a cyclic-anapaestic 
verse, Hephaestion cites from Archilochus: 


‘Eoacpovidn Xaoihas, 
and with a long anacrusis: 
Anuntol te yeioas avéSov. 

With such lighter anapaests, the iambic and anapaestic 
logaoedic rhythms akin to them, seem very readily to have 
been intermingled. 

As an example of such cyclic anapaests, Hermann correct- 
ly cites Luc. 'Tragopod. 190—202, and Arist. Av. 1313— 
1322. | 


Tayv 8 av molvevogu tar m0hw 
Kadoi ts av ooaar. — 
Tvyy wovoy moocein. — 
Karéyovot & towres éuag m0decog. — 
Oarroy péoew uEhevw. — 
Ti yao ov ém tavty 
Kahov avdot petorneir ; 
Logica, lo00s, auBooowa Xaguees, 
To te tis ayavopoovos Hovyias 
Evausoor moocwmor. 

The same law which we have applied to these, holds with 


respect to the logaoedic anapaests, which in general are less 
common than the dactylic: namely, that a logaoedic series 


104 ANAPAESTIC RHYTHMS. 


cannot have more than six feet, and therefore the number of 
the anapaests is in the inverse proportion to that of the 
iambs. 

The most common are the following. 


(1) Logaoedic series with a simple anapaest. 


(a) Anapaesticus simplex simpliciter tambicus. 
? 
vv —~»— acatalectus. 


vv—~» catalecticus. 
The former occurs sometimes singly, as Pind. Nem. VI. 
Epod. 6. 
Nepéa Sé toI8, 
sometimes in combination with other rhythms, as Pind. 
Olymp. XIII. 5. 
/ ees) - 
TIooSvpov THoteWcvos, vy).aoxoveor. 
The latter is not distinguished from the Dimet. anapaest. 
catal. 


(b) Anapaesticus simplex dupliciter iambicus. 
a 
vv —»+—~»-— acatalectus. 
pe as 
vv—-~—~ catalecticus. 


Soph. Ant. 611. 
/ Xx 


[ are Fs} oS es Cea 4 a ox b] , 
Tot &7tetta Ht TO MELOY ZHAL TO TOW EMUOHECEL. 


Eur. Heracl. 380. 


Tlody, ahh avucyov. 


(c) Anapaesticus simplex tripliciter tambicus. 
. i 
vy —v—+—~-— acatalectus. 
yf —_— 
ve-v—v—~  catalecticus. 
The former is found but seldom, as Aristoph. Thesm. 312. 


4 ~ 
Asyouss0a xai Osov yevos, 
Rh} Z 


ANAPAESTIC RHYTHMS. 105 


the latter more frequently, as Aesch. Agam. 691, 692. 


TTooxaduppator EmLEVOE 
v7 7 , 7 
LEPVOOV YIYAVTOS KVOG. 


Such a verse must not be confounded with an Anacreontic. 


(d) Anapaesticus simplex quadrupliciter tambicus. 


ve—v—v—v—-»-— acatalectus. 
, = 
ve-v—v—»+—~ catalecticus. 
The former seems not to occur; the latter is found, as 
Pind. Olymp. IV. 9. 


7, a 7, ~ 
Xapitoy exate tovdse xoMovr. 


(2) Logaoedic series with double anapaest. 
(a) Anapaesticus duplex simpliciter iambicus. 
/ 
vy—vv—~— acatalectus. 
; rs 
vy-vvy—»  catalecticus. 
The former, as Pind. Olymp. IX. 1. 
To pév ‘Aoyidozou péos. 
Eur. Ion. 468. | ~ 
Tuetevoute 8, w x00ut. 
The latter is not distinguished from the Tripodia anap. cat. 


(b) Anapaesticus duplex dupliciter tambicus. 
/ 
vvu—vv—v—v— acatalectus. 
j 
vyeve—v—~ catalecticus. 
Eur. Electr. 586. 
Karéhamwwas, eeSag eupary. 
Aesch. Prom. 548. 
Ohyodouviay CKHUAUY. 
Pind. Pyth. X. 6. 
, aif) a 


GOD me ee ee ee ee Yee 


> ~ > id > ~ A a 
Ayayeiy eminopiay avdowv xhutav ond. 


106 ANAPAESTIC RHYTHMS. 


(c) Anapaesticus duplex tripliciter cambicus. 
/ 
vy a-vy—v—+—~-— acatalectus. 
; e 
vyovy—e-v—~  catalecticus. 
Eur. Ion. 1447. 
Suvéxvos adoxytos (Sore; mover. 
Pind. Isthm. VI. 1. 


~ a , ~; 
Tin toy maoos, w paxaion Onsa. 


(d) Anapaesticus duplex quadrupliciter iambicus. 
/ 
venverv—v—v—~— acatalectus. 
, as 
veovy—vov—v—~  catalecticus. 


The catalectic only appears to have been used, as Aesch. 
Prom. 546. 
Tis épapector consis 3 ovd ed€ozOne. 
Pind. Fragm. Hyporch. 2. 


a ; id ved tA bs 5 J , 
Os Guasopoeytoy olxov ov mémara. 


(3) Logaoedic series with triple anapaest. 


(a) Anapaesticus triplex simpliciter tambicus. 


/ 

vyove—vy—»— acatalectus. 
; = 

vy —vv—vv—~  catalecticus, 

Lucian used the acatalectic mingled with the catalectic, 
Tragopod. v. 87. sqq. Once, in a proper name, he has a 
spondee in the catalectic verse: 

Moiva Kiw0@ tor éhovoer. 

Elsewhere the acatalectic verse is also found singly, as 

Arist. Thesm. 367. 


> ~ and , 
‘AcsBovo , adtnovol TE THY TOW. 


The catalectic verse is not distinguished from the tetram. 
anap. catal. 


ANAPAESTIC RHYTHMS. 107 


(b) Anapaesticus triplex dupliciter iambicus. 
/ 
vy ave—ve—v—v— acatalectus. 
; ae 
vyivy—vy—v—~ catalecticus. 
Arist. Av. 451. 
Aoleoov piv cet nata muvee bn TQOmOY. 
Soph. Ant. 356, 357. 
Ooyas eidakuto nai Svoudtdor. 
Tlozé pév xaxor, Gdiot é@ so020v Lome. 


(4) Logaoedic series with quadruple anapaest. 


(a) Anapaesticus quadruplex simpliciter tambicus. 
/ ‘ 
vy vv —ve—vv—~— acatalectus. 
, = 
vy—vv—ve—sy—~  catalecticus. 


Soph. Trach. 842. 
Meyddav moocogaon Souotot BLavar vor. 
Aesch. Prom. 558. 
16TUTL YCMOY, OTE THY OMOTETELOY. 
The catalectic is not to be distinguished from the Penta- 
podia anap. cat. 


(b) Anapaesticus quadruplex dupliciter tambicus. 
/ 
vy ave nvenve—v—v— acatalectus. 
; = 
vy avenvenvy—v—~ catalecticus. 
The catalectic verse is the Versus Archebuleus with the 
dissyllabic anacrusis, see p. 97, as, 


"A yézo Ded, ov yoo yo diya tard aside’ 


108 CRETIC RHYTHMS. 


CH AP TE. Dt: 


RHYTHMS, WHOSE GROUND FOOT IS FIVE-TIMED.—THE ONE 
AND A HALF OR PAEONIC KIND. 


A. Falling, Cretic Rhythms. 


(a) Cretics with rational thesis. 

The cretic consists of five times, which are proportioned 
to each other, as 3:2. The subordinate relation of the ar- 
sis is the trochaic, 2:1; that of the thesis, dactylic, 1:1; 
hence the foot takes the following forms: 

a os tr2 


vvv vv 


ar2Stiliatk=—t:),. 





/ 

The following contractions are accordingly allowed: -»- 

la nN In 
Creticus, -~~»+ Paeon primus. v-~+— Paeon quartus. (P. 1. 
ch. 5. p. 21). 

The cretic is the appropriate measure of Paeans; it is 
besides sometimes employed in tragedy, especially by Aes- 
chylus, and particularly in poems in the Phrygian mood, of 
a wild, enthusiastic character. ‘The cretic rhythm is, how- 
ever, chiefly used in comedy, especially in the resolved forms, 

As the foot has a masculine ending, it is more inclined to 
the diaeresis than to the caesura (P. I. ch. 11. p. 40). The 
acatalexisiscommon. ‘The catalexis is merely in disyllabum 
/ — 

—v--~; for that in syllabam is transformed into the trochaic 
ar 
dipody —»~ —~, which is frequently appended as a sort of close 
to cretic rhythms. ‘This trochaic closing rhythm is also 
frequently lengthened : 
/ (a — 


eee YM ie ee VY ow VY Oo OV 


/ / 


eee ee Me 


If the cretic is resolved, sometimes one, sometimes the 
other form predominates : 


CRETIC RHYTHMS. 109 


fn IA IN ‘nn 
vevovevovev—vee— fourth paeons. 
/ ~ aoek nan f n 


eG SAS ee UG OG Ci IGS first paeons. 


An anacrusis or basis, trochaic as well as iambic, may be: 
prefixed to the cretic rhythms. ‘The iambic basis is the 
more frequent. 

The Romans used the middle time in the thesis of the: 
cretic; but they liked to conceal the long in this place by 
the pronunciation, and never permitted its resolution. Hence: 
the choriamb cannot stand for the cretic. 

The most common measures are the following : 


(1) The Monopody or the Monometer.—Monometer creticus.. 
? Vv 


It occurs sometimes singly, as Soph. Elec. 507. 
Tade ya, 
and so also sometimes in the systems among dimeters. 
It is very frequently combined with other rhythms, and 
then stands either at the beginning, in the middle, or at the 
end, as Pind. Olymp. II. Epod. 3. 


In / In YS oom 
Xoov0g 0 navtwy matyo dvvato Oéusy Eoyov téhos. 
Pind. Olymp. V. 3. 
/ va / _ 
“Axopartonodsos t anyvas Séxev Povmos ve dwoa. 
Aeschyl. Choeph. 605. 


> Gat , ae aks 
Tow a nawWohipas tadawa Oscrieg wjoato. 
Se 

With the anacrusis vy —»— it is not distinguished from the 
iambic dipody. 

With the trochaic basis, the cretic resembles either the 
trochaic catalectic tripody, — v —» -, or the dochmius, —- —»-. 
Sometimes the basis is found with the anacrusis prefixed (an 
apparent dochmius with the anacrusis), as Soph. Elec. 171. 


10 


110 CRETIC RHYTHMS. 


Ne, 
"Asi nev yao mobet. 
With the iambic basis prefixed, the cretic gives the dochmius 


leit A 


The composition of the dochmius is indeed arrhythmic, on 
account of the coincidence of the arses, but the parts them- 
selves are rhythmical. We speak here only of the pure 
dochmius, as it Is given in the above scheme, in which the 
iamb never appears as a spondee, and the thesis of the cretic 
never takes the middle time. Thus Pindar used it with 
kindred rhythms, or by itself; he never repeats it. He has 
by preference only the following forms: 


(LOALA 


—_—_VY¥— 


Pyth. V. 6. 
Sv tot voy xhuragc. 
Olymp. I. Epod. 7. 


meee ee ee ee ee YY ee YY ee CY 


ASudsaduevor wevdect momidog eanatovee pvOoe. 


| Pyth. VII. 7. 
"Enipavesregor. 
Olymp. I. 2. 


BY ee ee Oe Ye Ve 


a , A , Wha (s 
Ate Swampéme vuxtt weyavooos eSoya mhovtov. 
In In 


VV Vv VY YY oe 


Pyth. V. 4. 
Tlohvgidov énécay. 
Pyth. V. Epod. 1. 


~ A 
"Anoliovioy KOvoua. TH C8 wy LaDETOO. 


The dramatists use the dochmius with irrational theses, 
which will be considered hereafter. 


CRETIC RHYTHMS. 111 


(2) The Dipody or the Dimeter—Dimeter creticus. 


, (Fas 


—v—-—-- acatalectus. 


wm ww wy ww 


/ Aina 


—--—--  catalecticus. 


The acatalectic dimeter is the principal element of cretic 
systems. But it also occurs singly, and in combination with 
other rhythms, as Arist. Pac. 1127. 

“Hdonoa y {Sone 
Soph. Trach. 205. ; 

"Avohodwgate Somors. 
Aesch. Agam. 238. 


4 / / 


Bia yalwov v avavdse pévet 
Pind. Olymp. II. 4. 
"Axo00we moheuov. 
Pind. Olymp. V. Epod. 2. 
x 


Vi T 7, iB — 
oem coms ee A Oe WW ce YO es ee es we WV WV ce VY oe WY 
Ne tf > VA \. Yee Nase 4 > 5 yA 4 L 
Nixacagy avédyxe, nat ov mario “Axor éxagvge nae tay 
UA 7 
véoixoy EdouY. 


The Latin comic writers sometimes use a dimeter among 
tetrameters, as Plaut. Capt. IT. 1, 17. 
Unum exorire vos sinite nos : — quidnam id est? 
Ut sine his arbitris 
Atque a vobis nos detis loquendi locum. 
Trochaic closes are frequently appended to the dimeter : 


/ / té 


ee 


Plaut. Most. TIT. 2: 1. 
Meélius anno hée mihi non fuit domi. 


Aeschyl. Agam. 224. 


/ / / / 7 


me A ees, (es NDE sets, "A, Vereen WP mee (pass GAs cae NP Sees NA ee AD CF Vial Oe ee 
, Y > £: A \ 
TTemronjuor. etka & ovy Ovrjo ysvicFu Gvyatoos yv- 
VULAOTOLOY TOLEUOY LOWY KY. 


4 Be CRETIC RHYTHMS. 


The dimeter often receives the anacrusis: 
—— 7) / 


ae NP a ee) Fc 


and therefore resembles a monometer iambicus with a cretic 
as Aesch. Choeph. 436, 437. 


"Exati wiv Samovor, 
‘Exat & apar yeoor. 
Arist. Pac. 1128 sqq. 

Kourove demi). d Leeyuevog 

Tvoov té “ll AQOMOD?. 
Ov yeeo guys Maz cs. 

With the iambic basis it is like the dochmius with a fol- 
lowing cretic : oe 


a — _— 


as Aesch. Agam. 1081. 
‘Ayviat anodov éuos. 
The catalectic dimeter is more unusual, as Pind. Pyth. [X. 2 


eee OY ee ee we WY oe oe VY 


vy Padlvlavoisw ayyéddoov 


Aristoph. Lys. 783. 
Abts étt mais ov. 
It is sometimes also found with the anacrusis, as Soph. 


Elec. 504 sqq. 


= IA VL 


VY YY oe oe YY 


"Q TTéhomos & no0cGev 
Tlodvnovog innsla, 
‘2g Euokes aiavy 
Tads ya. 
Evze yao 0 mortises 
Mvotihog éxomady* 
Arist. Lys. 787. 


74 a 


— 


Kay toig ogeow @xet. 


CRETIC RHYTHMS. 113 


(3) The Tripody or the Trimeter.— Trimeter creticus. 
/ , Yeas 
—v——v——--— acatalectus. 


ww ww wey we 


a yf (Agee) 
—v—--—-» catalecticus. 


ww we wey 


The former is often found singly, as Aesch. Suppl. 428. 
My a tig cay inérw eiodeir. 
also in the Roman dramatic poets, as Plaut. Rud. III. 4, 61. 


Heus, Palaestra!— dbsecro, qui vocat ? — 
Ampelisca, heis !— quis est, qui vocat ? 
It receives also the anacrusis: 


atts / / 


a monometer iambicus with a cretic dimeter, as Pind. Pyth. 
V. 9. 

"Exar yovoupuatov Kaorogos, 
and the iambic basis: 


De ike / v 


mee ee ee ee Ye 


a dochmius with a cretic dimeter, as Aesch. Agam. 1118. 
Karodolvgato dvuatos Levoinov. 


Trochaic prolongations are likewise frequent, as Aesch. 
Eum. 323. | 


/ / x y 


Kv. 0 Aatovs yao ig w dtmor tidyot. 
Aesch. Agam. 180. 
/ / / Uf 
x 4 %. ~ 
Moyownijuor novos, xa mug dxovtus yAOe Copoorery. 
The catalectic trimeter occurs more rarely, as Aesch. 
Agam. 1142. 
fat A Cy. (= , 
Nopov avouor, oie tig Sovda. 
If the verse takes an anacrusis, and the anacrusis appears 
as a long, there results an apparent ¢rimeter palimbacchius : 
/ / ee 
Xo, Doige, Movoul te, cvusopuer. 
1O* 


114 CRETIC RHYTHMS. 


The catalectic trimeter also sometimes occurs in the Ro- 
man comic writers, as Plaut. Rud. IV. 3. 10. 
Té mihi non fore infidum. 


(4) The Tetrapody or the Tetrameter.— Tetrameter creticus. 


ip if / Bo 


i ew as ee CATALOG: 


w wey we wey “ww 


v4 / L =. 
sa avo eve jegtalectious: 


w ww we vw ww ev 


The acatalectic tetrameter was often used by the Greek 
comic poets, as Arist. Vesp. 419. 
Kei wg ahhos npogotyjuer vuoy x0da$. 
Arist. Georg. in Hephaestion: 
Ey dyooe 8 av mLatavoy ev Suaguretoouer. 
Arist. Acharn. 976. 
Abtouata nivt ayadta rode ye nogilerat. 
The Roman tragic and comic poets also have the tetrame- 
ter very frequently, as Ennius in Cic. Tusc. Quaest. III. 19. 
Quid petam praésidi aut éxsequar? quove nunc 
Auxilio éxilf ait fugae fréta sim? 
Arce et urbe orba sum, quo accidam? quo applicem ? 


Plaut. Rud. I. 3. 31. 
Hoc quod indita sum, simmae opes dppido. 
Néc cibum, néc locum técta quo sim, scio. 
It occurs with the anacrusis in Pindar and the tragedians: 


aaa A F 4 / / 


Nm eee ee ee ee YY ee 


a monometer iamb. with a cretic trimeter, Pind. Olymp. II. 5. 
Ojowva Se retonogtas Evexa vinagogov. 

Soph. Elec. 1419. 
Tehovo cout: Coow ot yas vat xElpEerol, 

with a preceding iamb, Pind. Olymp. II. 2. 


tae Ld / a Coe ee 


Tiva Geer, tY Howa, tiva 8 “vdou xedudijoouer 5 
The comic poets have likewise the catalectic, as Arist. Lys. 
792. 


CRETIC RHYTHMS. ie 


Kovuer xarydoe madw otzaS v0 picovs. 
Pigut, Trim. dds 1. 27, 
Da mihi hoc mél meum, si me amas, si atidis. 
With the anacrusis it occurs in Pind. Olymp. IL. Epod. 4. 
/ 1A / n ia 


ww 


\ ? = } 
Addie Se motum ovy evdaivor yévoww ay. 


(5) The Pentapody or the Pentameter.—Pentameter creticus. 


, / / t ess 


—v——yv——yv——+—---— acatalectus. 


ww www wey wee wey we 


, Va j 4 vs 
ae sn ets ae ioe oe a (OTRO CLIOUS, 


The former is sometimes used by the line in the Alexan- 
drian writers, sometimes singly by the comic poets, as Arist. 
Ach. 972. 

OV éyet omeocmsvos Eurtogixa yonuata SieuTto.ay. 
Theopompus especially is said to have used it, hence versus 
Theopompeus, as, 

TIuve ayada 8n yéyover avdoaow éuys and ovvovotas. 
Among the lyric poets Bacchylides used it by the line. 

The catalectic pentameter seems not to have been in use. 


(6) The Hexapody or the Hexameter.—Hexameter creticus. 
/ / / / Z Le ye 
—v- yyy» —--»— acatalectus. 


w we wey wee ww ww w 


¥ / / - / 7 = 
—v—-v—-v—-+---+--~  catalecticus. 

The former is said to have been used by Bacchylides, 
hence metrum Bacchylideum, but the verses cited by Dionys. 
Hal. seem rather to form a cretic system. See below. 

The comic poets have the hexameter, as Arist. Acharn. 
210, 211. 

‘Exnégevy , oizeta goovdos. oimot tahug cov etary cov 

EUV. 


116 CRETIC RHYTHMS. 


> ‘\ Neer J bed , ye Dae | < , 3 , 
Ovz av em eung ye veotytoS, OT &yo Geowy avIouxwr 
poottor. 
It is found with the anacrusis, Arist. Aves 410. 
, \ & ~ 
Tvyy Se mola xouiter mor avta me0g domdaus eOeiv ; 
— tome 
, , \ ~ ~ , \ ¢ ~ 
Biov dwityg re nat cov Svvomeiy cé cow nat Svvetvar 
TO 1G. 
The catalectic hexameter, according to Hephaestion, was 
used by Aleman, hence Versus Alcmanius. 


> \ J 4 = ~ , 

‘Agoodiza per ove got, naoyos © "Eows, ota mais, maodet, 

"A; E IR: Speto Pees 2 Oo: e Pie ee a oe Ol ee cane OLOXE 
xo &t avOy xapairor, & wy moe Oiyys TH xvTUIoLOXg. 


(b) Cretics with the irrational thesis. 


The Greek tragedians, and after them the older comic 
writers, allowed themselves, particularly in those choral songs, 
in which the greatest distraction of feeling or the deepest 
sorrow prevails, certain licenses as to measure, which do not 
occur in the Dorian lyric poetry. With this less strict ob- 
servance of the lyrical laws (¢vmpadca) there probably was 
also connected a great freedom in the singing and the musi- 
cal accompaniment, and this delivery, like the modern reci- 
tative, is called by Aristotle (Prob. IX. 6.) wagaxutahoyy. 
The inventor of it according to Plutarch (de Mus. 1141. A. ) 
was Archilochus. 

The cretic, in this paracataloge, might also take the 
middle time, especially i in certain combinations : 

as 
hence we will call it the irrational cretic. 

It most frequently appears with the iamb prefixed as a 

dochmius : 

ae 
In this measure, all the longs, except the two irrational ones, 
can be resolved. Ifthe dochmius does not close the system 
or the rhythmical series, then two shorts may also be put for 
the last long; at the close, only the long or the short stands. 

The shortening of a long by the hiatus takes place in the 
dochmius, only in the two shorts, which stand for the first 
arsis, as, 


CRETIC RHYTHMS, i We 


» 3 ~ Li 
Quot suwy vootwr. 
Ets wot ouparor. 


The dochmius has thirty-two different forms, all of which, 
however, are not equally in use. 


v 


1. v---+- = ped sizae otgautdg. Aesch. Sept. 79. 
) dtc — oreatonedor dinoiv. Aesch. Sept. 79. 
3. voeee - ot? @ Awyevrés. Aesch. Sept. 128. 
A, vvveee — «yeté w ot tayog. Soph. Ant. 1323. 
5. ---e- enor pot, T40 ovx. Soph. Ant. 1317. 
6. --~v-+- dovdoovvug vaep. Aesch. Sept. 112. 
7. --vv~— "Oyxa 200 modews. Aesch. Sept. 164. 
8, -vevee — ost modvg 058 Aews. Aesch. Sept. 80. 
9.-¥---- tw dvoravog. Soph. Ant. 850. 
al aed 
vev—--—— avocinr avdoay. Aesch. Sept. 566. 
vee — &0é-varog anoogacictos. Eur. Bacch. 1008. 
----- éydeg ‘Aroeidag. Soph. Phil. 511. 
14. ------ 2909 tivog avPeanwr. Eur. Hec. 696. 
eee 
16. -veve— — ahuvoor éni novtov. Eur. Hipp. 1273. 


The following forms can only be used when they occur 
in combination with other rhythms. 


a A 


17. saves 


n 


mohitas éradorv. Aesch. Eum. 790. 


118 CRETIC RHYTHMS. 


18. vev-eee amayer éxtonwr. Soph. Oed. R. 1340. 


19. v-vevey Oe0g tor ou tore. Soph. Ant. 1273. 
alal a 


20. vveverver cov quayor amodeuor. Aesch. Agam. 769. 


| eer a 
21. ---+ee 
(42 en A a 
22, —ve—-~~ cov xatagatotator. Soph. Oed. R. 1845. 
1 Ila a 
23, —-verey mag gis; apatoy aga-zor. Eur. Ion. 782. 


IN IA an 


24, —vv-vere cag muoos tt yaoutos. Soph. Elec. 1266. 


~ 


25. v---~y "Opéotay tylvye- tov. Eur. Iph. T. 827. 
26. vvv—-~+~ Ore te cvaiyyes E- xhaySav. Aesch. Sept. 205. 
Q7, vovynye 


INC IA an 


28. vvvev—v~ yévog kyovoy avtixa. Eur. Herc. fur. 886. 


Amar dé an 
i eee 
In / n 
30. es ANAS aoe ere Nea 
toatl an 
ol. i he 


INC IN 


32 me YU YV Yo YY 


cae 


The forms with the long thesis of the cretic occur most 
frequently in the commatic songs of tragedy. ‘The most 
common are the forms 1, 2, 4, 5, 6,9, 10, 12, 14. The 
forms 11, 15, 27 and 31 were not in use. Of the forms 21, 
29, 39 and 32, no certain examples can be pointed out. 

The dochmii were sometimes repeated as a system, some- 
times they occur in combination with other rhythms. 

As the dochmius begins with a thesis, those rhythms, 
properly speaking, can only precede it, which close with the 
arsis, as an jamb: 

Cai Mia AN Laat 


Se ee ee ee 


CRETIC RHYTHMS. 119 


Aesch. Sept. 78, 166. 
Oosvuca Pobeoa peyad ayy, 
1a mavadusig Deol. 

Eur. Phoen. 1287, 1288. 


1A Toy IA t fiane / 


GG GGG YOY OY OS ee Yee ee ee ee 


"ELeos éheos éuole watéoos dehatas, 
Pi , , oA , ¢€ 7& 
MiOvpwe TEXEL MOTEQOS KOK TOTEQOY KI MASEL. 


An iambic dimeter: Aesch. Agam. 1100. 


Ue riot MA 


> \ aves S , a io 
Ie) mozot ti mote py SEtctt 5 
and longer iambic series, as Aesch. Kum. 778. 
eee ETA 
To Feot vedzeoor MULES VOMOVS. 
If a dactyl precedes a dochmius, it is to be measured as an 
iamb, as Aesch. Sept. 222. 


al fa # 
Aatouevor avot Sai. 
In the same manner it is often preceded by one or several 
cretics, as Kur. Hipp. 366. Herc. fur. 910. 


if ~ 
Q rahawa O98 alyéor. 
‘Avanadheig tiva ws tive Boar 3 


Aesch. Eum. 268. 


, / tL. 


ee ee 


i 7 iA ie, i , ig 
‘Artinoivors tivys pytoogovas dvas. 
Catalectic trochaic series, too, occur, as Eur. Orest. 140. 
t In 7 
Ww ~ I 
Diya ciya, Lento tyvog aoBvdye, 
finally, choriambic, anapaestic and catalectic dactylic rhythms. 
Series, which end with the thesis, can then only precede the 
dochmuus, if the poet wishes on purpose to produce a soft 
arrhythmy. ‘Those cases, however, are rare, and the verse 


usually appears, by another measurement, as eurhythmic, 
as Aesch. Sept. 235, 241. 


120 CRETIC RHYTHMS. 


/ a 
= ve —~ = tetrapod. troch. cat. 
/ Ota fF 
not —vv~v~—-~—dochmius with trochee preceding. 


Tig rade véusois orvyet. 
Timor E09 ixomar. 
As little does in Aesch. Pers. 268, 274, an amphibrach 
precede a dochmius, if the verses are thus divided: 


al? 


VV VM ow Ve VY ee VY 


op. Ozorortoi, uatay ta modha 
Belen nampyy. 

art. ‘Ororotoi, pihwr adiSove 
Someta mohvBugy. 

The genus Alcmanium, so called, consisting of a doch- 
mius, preceded by a monometer troch. with an anacrusis, 
seems for the most part to rest upon an erroneous mé€a- 
surement, as Aesch. Agam. 238, not 


/ Uae 4 


/ MA / 
but v-v——»——--—trimet. cret. with anacr. 
Bia yahoor ? avavde weve, 
so likewise Agam. 378. Aesch. Prom. 580, the poet seems 


to have purposely allowed the asynartetic coincidence of 
two theses: 


Ototoniateo Sé Seiuace Sedatay. 
Other rhythms also may follow the dochmius. Cretics 
are very frequently attached. to it, as Eur. Bacch. 1153. 
‘Avayogevooper Baxyior. 
‘Arapodcoper Evupogar. 
or trochaic series, as Aesch. Sept. 566. 
‘Avooiwmy ardoar sid_e yao Geol. 
The hypercatalectic dochmii, so called, are trochaic series, 
with a preceding iamb: 


CRETIC RHYTHMs. bea! 


—vr - 
»——v-—-~ Dipodia troch. acat. 
which very frequently forms the close of dochmiac systems. 
The second thesis is never allowed to be irrational. Eur. 
Herc. fur. 879. Aesch. Sept. 421. Suppl. 751. 
Xovevdert avavdors. 
‘Ohopevoy (Séo0c. 
Avoayvos goes, xoQauEs wore, Bomar adeyortes ovder. 
=F 
»—-—»v-—v--— Tripodia troch. cat. 
Eur. Troad. 560. 
Aoyou § &éBaw “Aons. 
v——v—»-—-~ Tripodia troch. acat. 
Aesch. Pers. 575. 
Boatw rédawear avs«y. 
rece Acres 
v——v—v—~— Tetrapodia troch. cat. 
Aesch. Sept. 737. 
MeLaunayes cima poiror. 

Through such systems joined to, or mixed with, dochmii, 
the shorts can be explained, which often appear to precede 
or follow the dochmiu. According to Hermann (Elem. p. 
278 sqq., Epit. § 268) the essence of paracataloge consisted 
in this. 

Of such shorts there are either two, as Kur. Phoen. 104. 

Xeio amo xhmaxnoy - 20808 - tyvog érartéh Lov. 


It seems here that zod0g should be connected with what 
follows, so that the short dochmiac system closes with two 
cretics, of which the latter is irrational : 


n ae 


Tlod0g tyvog éxavtélior. 

In like manner Eur. Hel. 690. 

a+ ay J , , 

AYHWOS, KTEXVOS, G TLOGL, KATHOTEVEL 

ie ay ’ me 

Lapor ayauor aoyvre. 

Eur. Bacch. 1164, 1165. 
11 


122 CRETIC RHYTHMS. 
Kahos ayor, & ai- 
watt otalovour - you - megiBadeiy téxvov, 
which ought to be measured thus: 


Kador ayor, év aiuace orelovcay 2 dochmii. 
Xéoa menipadsty céxvov. Dimet. cret. 
Or three shorts, which are to be considered as a resolved 
iamb. 
Or four shorts, as Eur. Orest. 171, 192. 
Tahir ava- 08a oor ethiSere. 
Medeor &- moqovor aima dovs. 


The passage, however, is thus to be divided: 


/ <7 

—»—»+—»—-— Dimeter troch. 
In in 

~vvervee dochm. 

— on, 


—v—vv~+—~—cretic. irrat., dochm. 
> > ae 3€ ~ >] > > n” 
oto. Ovz ag yuor, ovx am olxwv 
ITahw ave 208a cov 
EidiSe, weteutva urvzov ; 
avt. ‘E&edvo 0 Doibos jugs 
Mé2eov unogorov 
Aiwa Sovs matpogovrov watoos. 
Eur. Elec. 1149, 1157. 
A ~ ) 
Tore per év Lovrpois - éxecey &- mos éuos cozéras. 
Méheov & moow - yoorioy t- xOuEvor ely o1ZxoUs. 
It is better here to close with the dochmius: 
4 SiN One ae, 
Emeoev eos Euos. 
Xpovrioy ixouevor. 
one system, and begin with the irrational cretic : 


fi _— 
‘Aoyeras, 
Eis otzovs, 


a new system. 
The verses Soph. Oed. Col. 1447, 1462. 


CRETIC RHYTHMS. 123 


Néa rads - vedoder HOE por. 
[de wala -wéyas eoeimErcu. 
are to be measured by iambs: 


al A 


VV VY VY YY YY oe YY me 


in like manner Eur. Orest. 1258, 12545 1273, 1274. 
Ti b¢ we code yokos anvers, 
"Evvené pot, pide. (dochm.) 
"ApoBos eye" uevdg, w pina, 
SziBos, ov ov doxeis. 
The verses Aesch. Agam. 1407, 1426, where four shorts 
seem to stand between two dochmii: 
Ti naxov, @ yvven, 
XGovotoepes - Savoy 7 mot0v. 
Meyadountis é, 
Tlepiqoova- 8 ghanes, wemeg ovr. 
are thus to be measured as follows: 


alt In Ia “ 


SYS ee ee YY YY ee 


, 1A In IA ~ 


Ti naxov, @ ybrat, Oovotoeges edavov 
“Hl motor macapeve Gurus é& ahog ogouevoy. 
Meyodouyrs él, mEgipoone o thaxes, 
‘Qoneo ove QovolBet tye Pony émiwaiver cu. 


Five shorts are a resolved cretic. 

The irrational cretic is sometimes preceded by an ana- 
paest, instead ofan iamb, the shorts of which, however, are 
never allowed to be contracted; a dochmius with a disyllabic 
anacrusis : 


ET 


as Soph. Oed. Col. 117; 149. 
Tis ce Hv 3 mod voter; 
‘ALuoy oupator. 


Such a dochmius, however, is often so in appearance only, 
as Aesch. Sept. 122. 


124 CRETIC RHYTHMS. 


Teviov inner, 
Eur. Herc. fur. 878. 
M4 
Maviaow Avocas, 


where yervwr is to be read as two syllables, and uar/aow as 
three. 

The resolution of the middle time of the cretic is not per- 
mitted ; hence rhythms, as Aesch. Suppl. 349, 861. 


[de pe cay inéru, 

Sv d& mao OWiyoror, 
are not to be considered dochmii, but are thus to be mea- 
sured : 


ron fae 


ve~—vv— jamb with choriamb. 


The irrational cretic sometimes occurs, without the pre- 
ceding 1amb or anapaest, before or after dochmi, as Eur. 
Orest. 168; 189. 


= alt 


oh > #9 Ne 
Owvsuc epades &§ vavov. 

‘ , me 
Ovde yao 00 ov exer Booas. 

If an anacrusis, or a trochaic basis with the anacrusis, is 
prefixed to the irrational cretic, rhythms seemingly iambic 
are formed, in which the middle time is everywhere admissi- 
ble, the zambi ischiorrhogict, so called by Hermann: 


_—- /- 


Same VY oo 


-—-X—-;sy;— 


a 


Soph. Elec. 1238, 1239; 1260, 1261. 
‘ALL ov tay "Aortewy, 
Tur aiey aSunrar. 
Tis ovy av eSiar 
Is cov megyvortos. 
The irrational cretic may also be repeated : 


I f—” 


ee eee Yee 


a dochmius with the arsis, so called; as Eur. Phoen. 320, 321. 


"H nodewos ethos, 
H notevos Ona. 


BACCHIC RHYTHMS. 125 


Soph. Trach. 846—848 ; 857—859. 


"H nov oho orévet, 

"H mov adwor yhooay 

Teyyer Saxovar ayrvar. 

“A cote Douy vyupay 

"Ayayes a ainewas 

Tard Otyadias atyug. 
Such a dimeter occurs also in the catalectic form, as, with 
the anacrusis: 

Wey ea re 


Y mee Yee ee 


Soph. Elec. 510—515. 
Tlayzovowy &x dipgov 


Avotavorg atniag 
TIodg¢ulog éxoup dete, 
Ov ti 20 

"Elutev &x tovd oixov 
Tlohvmov0g atte. 


The Romans used the dochmius rarely or never. With 
them the bacchic rhythm supplied its place. Hermann 
thought he had found dochmii in Plautus, as Menaechm. V. 
6,9. 

Verbéra, compedes, 
Molae, magna lassitudd, fames. 


B, Bacchic Rhythms, 


The bacchius, like the cretic, consists of five times, which 
are in the relation of 3:2. The subordinate relation of the 
principal arsis is iambic, rising therefore, while the principal 
relation is falling, and in this contrast lies the arrhythmy of 
the bacchius: 

aia stee 


ths at2 pales tee 
11* 


126 BACCHIC RHYTHMS. 


The following forms, therefore, are possible: vv~vy »v—- 

In 7 2 ba 
vvyvy— vv, In the closing foot a short may stand for the 
Jast long. 

The Greats rejected altogether, with the exception of a few 
passages in tragedy, the bacchic rhythm on account of its 
arrhythmy. Wherever it does occur, it is for the most part 
apparently only, as Pind. Olymp. I. Epod. 4, which verse is 
not to be measured : 


Dh eee Ze / 
ae Ma a Ne Diet: Dace. aap, tom. daciyh 
log. 
Las, / / 
but »---~--+~-+- »-v»+—~» Dochm., dact. log. acat., dact. 
log. acat. 


Tlocedayr, exet viv xa0-agov LéByt0g ele Kiodo. 
A single bacchius often seems to be prefixed to other rhythms 
as an introduction. Such a bacchius is the trochaic basis 
* 
with the anacrusis: »-—3; see above, p. 61. 
The monometer occurs sometimes between iambic trime- 
ters, as Soph. Oed. R. 1468, 1471, 1475. 
TP ovat. 
Le pyut ; 
AYO Tt. 
Oed. Co]. 318, 1271. In like manner the dimeter Arist. 
Ach. 735. 
Tenpacd a nema cu. 
These words are, however, to be considered as a kind of 
emigveynautixe, Which are not bound by any definite rhythm. 
The following verses seem to be real bacchii; Rhes. 705 
Sq. ies 
H. Aoxeis yao ; 
H. Ti pv ov; 
H. Ooucvs your éo juas. 
H. Tig; ahuny civ atveis ; 
H. ‘Odvocy. 
The tetrameter is most frequent. Hephaestion quotes as 
an example: 


BACCHIC RHYTHMS. 127 


‘O cavoos & omer xvoitew tiv’ Koyay, 

Doacavrtos & én Loyos moonjdjcEetat vw. 
Similar is the verse in Aesch. Prom. 115. 

Tis ayo, tig OOuc moosinta w ageyyns 3 
Aesch. Eum. 789. 

Srevalo ; ci 6&w; yervopor; Svoowra. 
and the verse in Dion. Hal. de Comp. p. 182. 

Ty axutar, civ vier Soauo ; mot m0gevd@ ; 

The Romans made frequent use of the bacchius, both in 
tragedy and comedy. It supplies in some degree the place 
of the dochmius, which it resembles very much on account 
of its disharmonic character, with this difference, that although 
the dochmivs ts arrhythmic in its composition, it is altogether 
eurhythmic in its parts, while the bacchius is wholly ar- 
rhythmic. ‘Thus it serves in tragedy, as the dochmius with 
the Greeks, for the expression of the highest passion, despair 
and grief, and in comedy it indicates, in a comical manner, 
sadness, haste, confusion. It occurs, however, in cantica 
alone, never in the dialogue. 

The poets have taken many liberties in the treatment of 
the bacchius. The arses are frequently resolved, and, there- 
by, the violent character of the rhythm is even heightened. 
The short is middle timed; it can, therefore, be changed 
into a long, and this again, according to the license of the 
older Roman poets, be resolved into two shorts. ‘Thus, the 
following form arises: 

hae =— Sf fF 
v——,attheend: -——- 

Plautus sometimes treats the verse as asynartete. Bacchic 
verses, moreover, delight in diaereses. T’he tetrameter has 
usually a principal diaeresis, which, however, is frequently 
neglected. The catalexis is in disyllabum only. 

The following measures are in use: 


(1) The Dipody or the Dimeter.—Dimeter bacchiacus. 
ips | det 
v—-—»—— acatalectus. 
Lo / 
“---—  catalecticus. 


128 BACCHIC RHYTHMS. 


The acatalectic dimeter appears sometimes to be repeated 
by systems; but it commonly occurs intermingled with te- 
trameters, as Plaut. Capt. III. 2, 6. Rud. I. 5, 6. 


Lasstim reddidérunt. 
Puéllae sed unde, 


The catalectic resembles the dochmius. It occurs singly 
among tetrameters and other rhythms, as Plaut. Capt. LII. 
3; I. 9, 10 (according to Hermann’s emendation). 


Quid ést suavils. 
Mihi syngraphim, 
Datur mi, illico. 


(2) The Tretrapody or the Tetrameter.—Tetrameter bac- 
chiacus. 


(frat (aay Chi Wick 
v—--v—-—»-—-—-»-- acatalectus. 
Lia? i Maat (Aue A / 
v—-—-v—-—v—--»-— catalecticus. 
The former occurs very frequently, partly repeated several 
times, as Ennius Hect. Lustr. 


Quid hoc hic claméris? quid héc hic tumilti est ? 
Nomen gui usurpat meum ? quid in castris strcpiti est? 


partly singly among cretic, iambic, trochaic and anapaestic 
rhythms. 

The catalectic occurs in Plautus joined with the acatalec- 
tic in distichs, Menaechm. V. 6. 


Spectimen boné servo id ést, qui rem herilem 
Proctrat, videt, collocat, cogitat, 

Ut absente hero suo rem heri diligénter 
Tutétur, quam si ipse assit, alit rectils. 

Tergium, quam gulim, crura, quam ventrem, oportet 
Potidra esse, quoi cor modeste sitimst. 


CHORIAMBIC RHYTHMS, 129 


CHAPTEE 1YV¥: 


RHYTHMS THE GROUND FOOT OF WHICH IS SIX-TIMED. THE 
CHORIAMBIC-IONIC KIND. 


A. Falling Rhythms. 
(a) Choriambs. 


The choriamb consists of six times, of which three are in 
the arsis, and three in the thesis. The subordinate relation 
in the thesis is rising, and contrasts, therefore, with the prin- 
cipal relation (P. 1. ch. 3. p. 13). 

atk tro 
on co 


—_— Vv v 


a:2—til | t:l=a:2 

The arrhythmy which hence arises is softened by trans- 
forming the choriamb either in a dimeter dactyl. cat. in syllab. 
or by substituting, according to a peculiar license, the iambic 
dipody (P. I. ch. 10. p. 37). 

The form —-»— is unquestionably choriambic when the 
iambic dipody corresponds to it as antistrophe, but dactylic 
when the single choriambs are strictly separated by the diae- 
resis. "hus Horace, who had the nicest sense for rhythmi- 
cal harmony, separates almost always by the diaeresis the 
single choriambs in the asclepiadean verses, so called: 

x / / 
many a|[-venrye 
Maecenas atavis edite regibus. 
x , / / 
—aavvn|[ove—|-ve-e 
Nullam, Vare, sacra vite prius severis arborem. 


to indicate thereby that he took them as dactylic and supplied 
after each choriamb a pause of two shorts; but Alcaeus and 
Catullus seem to have measured these originally choriambic 
verses by choriambs, because with them the diaeresis after 
the choriambs is not essential. 

The character of the choriamb is different according as 


130 CHORIAMBIC RHYTHMS. 


its form is dactylic or choriambic. The soft arrhythmy 
which belongs to the choriamb, renders it particularly suita- 
ble for the Aeolian poetry. The comic and later tragic poets, 
too, use it frequently: Pindar and Aeschylus more rarely. 

The choriamb of dactylic rhythm partakes of the charac- 
ter of the dactylic kind. 

The usual form of the choriamb is that in which both 
arses are contracted: —-~~—. The first arsis, however, oc- 
curs sometimes resolved, as Arist. Av. 1372. 

In / — 
Avanéroua by 2003 "Ohvpnor ategvyecot xovgats. 
Arist. Lysistr. 324, 325. 
1A / 


© , , ’ , 
T0 te vouwr aoyahecor 

© , , 7 

T70 te yeoortay ode oor. 


compare also Pind. Fragm. Dith. III. 10. 
The resolution of the second arsis is more rare, as Eur. 
Hel. 1489, 1506. 
es 
—v—vv—~»-— (Glycon.) 
Bate Theacdas v70 pécas. 
Avoxuieor 8 ano ovyyovov. 


The resolution of both arses is still more rare. Hermann 
quotes as an example Eur. Bacch. 410, 425. 
oda In / 


voveeeeeees (Glycon. polysch.) 


Exsio aye we, Boopie Booute. 
Kara dog vvurag te pihas. 


The two shorts are not permitted to be contracted. Ca- 
tullus only and Seneca have taken the liberty of using in 
glyconic and pherecratean verses the molossus for the chori- 
amb. 

The choriamb is capable of one catalexis only, namely, 

/ A= 
im disyllabum; =~~=—~ (PT. ch. 7. p27). 

Choriambic rhythms were sometimes provided with lagaoe- 

dic terminations: 


CHORIAMBIC RHYTHMS. 131 


ee OM ee ee 


ee ee ee OY ee YY ee 


Z, / / 

By a kind of paracataloge the long is sometimes used for 
the short in the first amb in these logaoedic verses, in Aeoll- 
an lyric and in the dramatic poets. 

The choriamb receives frequently the cretic as a kind of 
close. 

Choriambic rhythms can be preceded by anacrusis and 
basis, both trochaic and iambic. 

On account of its terminating with the arsis the choriam- 
bic rhythm is more inclined to the diaeresis than to the cae- 
sura(?. Loh bl. p38). 

The following measures are the most common: 


(1) Zhe Monopody or the Monometer.—Monometer 
choriambicus. 


/ 


a VY oo 


It occurs often in connexion with other rhythms, as Pind. 
Olymp. VI. 2. 


t cA 


Kiovas, wg ore Sayrov peyeoor. 
Soph. Oed. R. 1090=1102. 


UA / bad 


—_ VV me —_—Vv— 


Tay avo mavoéhnvor. 
Tig Svyatno, Aostov, to. 
With a cretic following in Hephaestion : 
Toromovor wstouxes. 
With the anacrusis and cretic close, as Pind. Olymp. IV. 9. 


Z / 


Oviupmovixar Séuev. 
With a trochaic basis: Eur. Hec. 473. 
x / 


—— a UY 


\ b) 
Tay Zevs auginvow. 


132 CHORIAMBIC RHYTHMS. 


With the iambic basis: Soph. Aj. 605, 606. 


Gael, 


Xoorg tovzoueros, 
Kaxzev eins eyo. 
The choriamb frequently receives a logacedic ending : 


—_ VY Ve VY 


the versus Adonius, see above. It receives also the anacru- 
is, as Soph. Oed. R. 468=—478. 
—_— / —_ 


Dye 208e vOucy 
if: WA ~ 
Tletoas are tavgos. 
With the basis it forms the Pherecrateus : 
i), = 
Of the dactylic pherecratean we have treated above. The 


choriambic ought, according to the analogy of the glyconics, 
to admit of a polyschematist form: 


—vv—~-—~ polyschematist pherecratean. 


It is to be doubted, however, whether the polyschematist 
form really exists; for the few passages in which it appears to 
correspond to the original form, prove nothing, being corrupt. 
Yn the Priapean verse alone the original form is sometimes 
exchanged for the polyschematist. 

Owing to the variations of the basis, the original form as- 
sumes the following shapes: 


x = 
~ Sed C7: ~ 
a eee ynous ovd 0c oipos. 
Xa nag 
° Ze , oO ” 
OD) ear ated Sd Ne Oeridos CL VW ETLATE. 
x 7 a 
A Pike, by ~ 
3. ---—yy—y xa dokart unmoziivat. 
XA / i 


, > BS \ 3 95 
4, vv =—+Y=~ Ui MOT HU MOL TO HET Nao. 


CHORIAMBIC RHYTHMS. Loo 
y me — 
fad , b Nv > , 
D.Yo-YY =~ moosioln ay "Adavasc. 


n/ = 


6. vv» —v~~—~ see form 2. 
Pot ae . 
7. ---~v—-~ see form 3. 
Xn 7 = 
RB, -vv—-ee—~ Covfouct couate modovs. 

The feet of three syllables generally occur in comic writers 
only, and in the later tragedy. It is better to consider the: 
eighth form, in most cases, as a logaoedic-dactylic series, be- 
cause it usually corresponds to itself alone. 

In the choriamb of the pherecratean the first arsis is some- 
times resolved, as Eur. Hel. 1486. 


Enuretomevos (ayet. 
The contraction of the two shorts occurs in. Catull. LXIJ. 25. 
Nutriunt humore. 


If the choriamb receives an iamb for a logaoedic termina- 
tion, the following form arises : 
/ 
The polyschematist would arise from the substitution of the 
choriamb for the diiamb : 
/ Ro 


—_— ey — VM ome ee ee YY oe 


— VY ae 


As forms of equal kinds alone seem to correspond, it is bet- 
/ > ed 
ter to consider —~v—-— as a logaoedic dactyl, and -y-~~+- 
as a choriamb with the basis. 
The same is the case when this rhythm is preceded by an 
anacrusis : 
Let 
In Eur. Herc. fur. 791, 808, the polyschematist seems, 
however, to correspond to the original form: 
wl) Site 
=x 


Movoor ¥ ‘Elixor(dor Soucate. 
q r) 


TThovtmvos Sopa dito véoreor. 
IZ 


134 CHORIAMBIC RHYTHMS. 


Compare also Soph. Trach. 960, 969. 


xX 


ee 


Xogetv 2100 Souwy Léyovow comeroy te Oavece. 
Ti yon, Pauvorvta viv, i xaP vmavov ovte “OW OL § 
If the basis is prefixed, the choriambic glyconic is formed? 
>, Ie = 
which differs from the dactylic in this, that it admits the 
middle time in the closing iamb, and receives polyschematist 
forms. 

The first polyschematist form which was used by Aeolian 
lyric and dramatic poets, arises from the substitution of the 
choriamb for the diiamb: 

x >, ae, aa 
-vovly-~- -»-+--~~- first polyschematist form. 


Us 


The second polyschematist form which occurs in Aeolian 
lyric poets alone (Corinna) and in the priapean verse, arises 
from the substitution of the diiamb for the choriamb: 

xX / / 

—vv—|v—= —+¥=—»—»— second polyschematist form. 


—_ 








Sa YS ae 


By the variation of the basis other forms arise, which ar- 
range themselves partly under the original, partly under the 
polyschematist form: 


a) Original Form. 
(a) Orig 


Pa s 
Ll. -v-ey-~- acon xaréderto Oy. 
Xn / i 
, a , — 
ey. (Opn Oe Tee SPOT aes UAXADES, OL METOLAS Deov. 
ene is 
, ~ 4 g 
3. ---Yy-~-— = ONBu tov meOTEOOY C—PaoS. 
Xa / S 5 
, 3 > / 
A, vv—-ve-y—  mepiBadd w téxvoy whevas. 


CHORIAMBIC RHYTHMS. 135 


Xie G7 a 
5. -v-vye--- = 9 noow tov “Egeydeday. 
nem oe ef 
6. vvv-vy--- Bacihinor Sahapwr 7 eter. 
xX / ia 
7. ---v+--- rag qhextoopasic adyas. 
Xn / ey 
8. vv --+~--- & apihhag Xagitwyr yairas. 
fh -8 4 
9. ----e-~- aera GAOyws TO THE. 
als 2 
10. vyv-—v+~--+— © see form 2. 
POOL % 
ll. ---»---~- © see form 3. 
aX 7 = 
12, —vv—++-~— gapdevos evdoxtpor yapor. 
Pat x 
13. ----~+--- eas augimohor xovoar. 
art = 
14, v~~-v-+-—-- = see form 6. 
Eade) bd 
15. -------- _ see form 7. 
Be . 
1G oes 
(b) Polyschematist Forms. 
> ara, enw 2 
is ees 
> Ga = 
1. ------+- = gata Barra navoayic. 
Xn X / ~ 
Zvvvovove— 6 péyag OABos &T costa. 
X XA , Me 
3. -vevv—~v— — rénva dv odvvag éy eas. 
Xn XA / a 
4. vvvvvv—~+— guyada meddgomor okutéow. 
xy xX , ie 
5. -v---+y— xa vw ouBow taxoperar. 
ee ee aie 
6. vvv---++— 70 yao anooTivaL yadenoy. 


136 CHORIAMBIC RHYTHMS. 


Xo xa / zs 


iY am YY UV oe oe VV VY oe 


Ra. Xa / Se 


8, MY YM we ee YY Oe 


wy A MAD 
9. ---v—ey— owt ex Tlavog tO Exarac. 


; é es 
10. vv --v-~~-— ovvenoinoa tH G~akaxog. 
xX XA / Y 
A \ , b , 
ll. --vvv-yv— xa YEO KUTLOOS AVTOUATOS. 


12. SD aes UWS Be Mook YOLMMTOLEVOS EWA. 


DS i eee “Y=  @ mai mai Svotavotatas. 
5 A Lae Demin 

14, -v----~++— dows 8 evvaiog yapéras. 
X Xa , - 

15. --vy--ve- 


B.A Xa / bt 


16. GOS mee eee YY 


V3 Ly "4 
17. v--+-~+- = nod000 “Aorepuv hoylar. 
> Fae. ¢ / aa 
18, -vv—-+-~~+= see form 2, 


yom. eS / ¥ 
3 me Sane 
19, v-vvv—++—  exeio’ ueye we, Bodpus, Bodue. 
a/ Xn Z Y 


90. VV VV VV oe YY ee see form 4. 


Vaae.® , ¥, 
Q). —---—---~--~-- _ see form 9. 
nt X / ~ 
22, —vv—v~-+~— yOor Enavn mécee yore. 
Rakin , od 
23. --vvv-~-y—_ see form 11. 
tn oN a4 


24, —vvvev—~e— Xaluida nodw sway moodmove 


Lise Se 
A 
Q.v----»++- §— aowWas evdammoriag. 
nr X / a 


26. vvyv----~~— see form 6. 


a Xn 


? 


wv 


QY, vave nave 


28. 


29. 
30. 
Ol. 
32. 


33. 


aX nX 


/ 


wv 


VU YY oe oe VY VY oo 


7X / 2 
—— ee oe oe vv me 
atX , bat 
a IS eet 9 ne a 
1. anXx / = 
ee ee YOY eee ee YY OY oe 
ar nx i, ch 


CHORIAMBIC RHYTHMS. 


see form 13. 


Tomes orav yaduaoms ‘Aors. 


wee YOY OY OY ee ee YY nee 


4 1 ae 


vy 


Se ee ee YY OY oe 


al bat 


ww 


OY UY am ae VY oe 


/ alts 


v 


me YO OY ee OY ee 


al al 


/ 


vw 


WY OY ee YY wre 


? 4 4 


vv 


ee 


al 1 sat 


Vv 


we OY OY eee ee YY OY ee 


/ a/ 


/ 


v 


ee YOY A ee YW OY oe 


al Ale 


w 


ome YOY OY OY OY ee YY OY ee 


/ Ae f 


v 


ee ee ee ee YY ee 


al / 


Vb 


Vv 


SSS we ee ee YY ee 


al al 


al vp 


oe i en eel 


4 EWae s , 
Lows avizate wayar. 

, a , 
mokumovoy women méhayos. 
see form 19. 


see form 4. 


> ir \ 4 
ov mavoomat tag Xagiras. 
, A , 
TOVLOMEVOS OVE AyLEvooy. 
see form 11. 


see form 24. 


see form 25. 

see form 6. 

Cae \ , ~ e ~ 
00aS TOY 20dH TOUTOY ; 000. 


Tlaug 6 Bovnohos av ehaBer. 


see form 13. 


see form 30. 


12" 


137 


138 CHORIAMBIC RHYTHMS. 


/ ahs 3 
he) Z. 
AT, ~--+~-++— gowiscovoa magyid guar. 
al alt +4 
id o > G 
48, -vv—vv—~e— morriat aos & UpéetEgor. 
Xx Pal 


The form -—-»»--+»~- and all those derived from it, are’ 
not in use. 


/ 


il. S2+es2 se 


Since in the dramatists this form, wherever it occurs, al- 
ways corresponds to itself only, the rhythm appears to be 
dactylic-logaoedic ; but in the Priapean verse it is choriambic, 
as, 

*2 pakayaus perv ooor avanviov F vaxwdovr. 

In all the forms enumerated above, the difference lies in 
the basis. But both in the original and polyschematist forms 
the longs of the choriamb can be resolved, as Soph. Oed. 

Xn In 


Tézooger uqihor anootvyeir. 
Arist. Thesm. 1136. 


ns 7s fa 


Tladdadsa tiv pidozooor esol. 
Eur. Bacch. 410, 428. 


2Xn In oa 

Exsio aye ue, Boome, Boome, 

Sopay & ameye moumida poeva te. 
Also the resolution of the long of the concluding iamb in 
the original form is found in systems, as Iph. 'Taur. 1106. 

'Q m0l)ci Saxotor UpEades, 

Ai mapnidas sig éuas 

"Exeoor, aviza mvpyor, 


even when the spondee stands for the iamb, as Eur. Ion. 
205 sqq. 


CHORIAMBIC RHYTHMS. 139 


~ , 
TTavra tot prépagor dw0- 
HO CXEWHL KAOVOY EV TELYECL 

Aaivowss Pvycrtor. 


For the contraction of the shorts in the choriamb, there 
are no examples of critical certainty. Seneca, however, 
admitted the Molossus in his tragedies, as Oed. IV. 4. 5, 6. 


Vela, ne pressae gravi 
Spiritu antennae tremant. 


The above forms do not all occur with equal frequency. 
The more ancient tragedy (Aeschylus and in part Sophocles), 
has not the trisyllabic feet in the basis; the Aeolian lyric 
poets, on the contrary, the later tragedians, especially Euri- 
pides, and the comic poets, frequently allow themselves to 
employ the trisyllabic feet. But it must be remarked that 
form 12 and form 16 of the original form 
usually correspond only to themselves, and then in most 
cases they are rather a dactylic rhythm. In the first poly- 
schematist form, the second basis is generally retained with 
greater purity than the first; hence trisyllabic feet are more 
rare in it; the anapaest, it seems, must be wholly excluded, 
except perhaps in Priapeian and Eupolidean verse; where it 
apparently occurs, the first basis is to be taken as a tribrach 
or dactyl, as Eur. Orest. 814, 826. Iph. Aul. 1041. 


In mat 4 


ee ee 


v 


¥; , 
Olxtootuta Gowapmara nal. 
wi 
Trvdagis tayyoe tahat- ve 
ry i 
Theoides év Soutt Geor. 


Sometimes systems are composed of glyconics, commonly 
with a pherecratean, sometimes also a logaoedic rhythm for 
a conclusion; sometimes also they are mingled with other 
rhythms, especially with logaoedic dactyls; and sometimes 
combined with other rhythms into single verses. 

In antistrophic poems, in Aeschylus, the original form only 
corresponds to the original form; but the iambic basis also 
corresponds to the trochaic, as Choeph. 611, 621. 


140 CHORIAMBIC RHYTHMS. 


id A 
Svumetpor te Seat Biov. 
, a ae z o 
ITviovd & xvvogowyr vara. 


In Sophocles, on the other hand, and still more in Euripi- 
des and the comic poets, not only the exact observance of 
correspondence between the bases, is not regarded, but the 
original form often corresponds to the polyschematist, and 
the reverse. 

The combination of the choriambic glyconic, and the 
Pherecratean, is called the Priapeian verse ; 


X-~7 x-~, _ 
wee ee Yee Ye ae VY ae YY OU Oo 
X-—-X—-~7 
ee ean © epee © Tan, © lige 
, , - 


ee Oe ee ee a ee ee ee 


A similar verse is the Metrum Eupolideum, so called: 
X-X—/ X-X-7 
The glyconic has also the anacrusis sometimes before 
the basis: 
v—-v—-»-—-+-— original form, 
—-X—-X-—) 
v-+—»—~~— polyschematist form, 
as Eur. Hel, 1481, 1498. 
“OuBoor diovoue yeteouor. 
Auynoay aotpor um aéhiaow. 
Sometimes also another basis is prefixed : 
OY Gn) ariic 
—v-v—v~—»+-— original form, 
DF en. ES) 
—v-v—»-—~-— polyschematist form, 
as Eur. Bacch. 867, 887. 
Eunaivovoa deiwaxos 7dovaic. 
Avsorras ovv wawopere Soke. 
The choriamb with a longer logaoedic ending : 


7 — 


is used by Aristophanes: . 
ms ~ 
Ovx ét0g w yuvaines. 
TTaot xaxoiow juas. 


CHORIAMBIC RHYTHMS, 141 


It also serves for the concluding rhythm of choriambic sys- 
tems. 


(2) Lhe Dipody or the Dimeter.—Dimeter choriambicus. 
of / 
—vv——v-— acatalectus. 
/ Yoon 
-vv--~ catalecticus. 

The acatalectic dimeter is the chief element in choriam- 
bic systems. It also occurs frequently elsewhere, as Eur. 
Med. 643. 

; “$f A %. (ee Se ae 
Qrarois, wo Sopa t Emor, 
or in combination with other rhythms, as Aesch. Pers. 647. 


/ / / 


"HT pihos avno, pthog oyS0g* piha yao xéxevOev HON. 
It also receives the anacrusis or basis. 
It is often provided with logaoedic terminations, as 


"fb / = 


ee ee ed 


as Soph. Aj. 226. 


Tar o peyas gueiey asset. 
Ny 


With the basis: ~v avy ==+¥ =» Soph, Ant. 944. 


"Etha xai Aavaas oveariy pos, 


according to Trent. Maur. p. 2426, and Mar. Vict. p. 2576, 
used aiso frequently by Sappho. 
The Epionicum a minore, so called, cited by Hephaestion, 


tL POF Fk 


vova|[vvoa-[ye-- 


may perhaps be thus divided: 
—-X-—~s ? - 
Tleguscov* ai yao Andddov 0 Avuzews. 
» \ , >”. aR > \ 4 
Iva cahaccomedois ay amo pacdor. 
7 / bd 


ee ee Oe Ye 


This rhythm, with the basis, gives the Asclepiadean verse, 
so called, versus Asclepiadeus : 


142 CHORIAMBIC RHYTHMS. 


> Ta , 
which was used both by the line and by distichs, by Ionian, 
Aeolian and Roman lyric poets. 
/ A = 
Anacreon: 
Auxovosccar t épidnoey atyucy. 
With the anacrusis: 


eee ee YY ee 


Soph. Ant. 614. 
Ovatayv Bitm mupmohs éxt0g ktas. 
With the basis: 


x—-~7 7 - 
eee ae Me Vv eS 


Vv 


Rhes. 366. 
Smaotar olyoutrov Thiados map axras. 
Soph. Aj. 230. 
Oureizat, mapandjure yEeor CvyAUTAXTES. 
With a preceding trochaic dipody : 
seta 
it gives the rhythm which Horace uses in distich combina- 
tion, Sapphicum majus. 


With preceding iambic dipody Soph. Aj. 227. 


Oiuot poBovmoe 76 mooskomoy. mEeoigartos aryg. 

With a following cretic: 

/ / / 

Ovdé Ledvtmv oOévos, ovdé TQOMal. 

The catalectic dimeter is more unusual, as Pind. Isthm. VI. 
Epod. 6. ; 

Alda mado yao. 
With the basis, Aesch. Eum. 1035. 

CGE ii 


Evgapeite dé yootrie. 


CHORIAMBIC RHYTHMS. 143 


(3) The Tripody or the Trimeter.—Trimeter choriambicus. 


, he / 
—vv— +e ——vv— acatalectus. 
/ / r= 


—vv—-v»v—--~ catalecticus. 


The acatalectic trimeter is frequent in the lyric poets 
and dramatists, as Aesch. Suppl. 57. 


Et bé xvoet tg méhag olwvonodwr. 


It also receives the basis, as Soph. Ant. 950. 
x=) , / 


Kai Zyros camevecue yovas yovooevtovs. 


It is also provided with logaoedic terminations, as Soph. 
Oed. Col. 694. 
Bay / , = 


» > A e \ ose AES > > 7 
Eozw 8 otov eyo yas Aovas ovz éaxovo. 


The Aeolian lyric poets used the verse also by the line: 
Ge / , 


ee eee 


This rhythm the Aeolian and Roman poets used very fre- 
quently by the line and by distichs: the metrum Asclepia- 
deum mapus. 

In the dramatists it occurs singly, as Soph. Phil. 175. 


Xosiag iotapevy. mos more nog SVopmoo0s arte yet 3 


/ iy Ve — 


ee ee es ee ee VY es Ye 


Eur. Herc. fur. 637. 
‘A veotas pot gthor, ayPog Se tO yrous atel. 
This rhythm was used by Anacreon in such a way that he 


always substituted the iambic dipody for the second chori- 
amb: the Choriambicum polyschematistum, so called: 


‘Ex morapov ‘mareoyoucs marta peoovoe Laumod, 
in the same manner Eupolis in Athen. VI. 236. As in the 
diiamb, the middle time appears never to have been put for 
the first short, the rhythm might also be dactylic logaoedic : 


4 ? — 


ee ee ee ee ee Yee 


144 CHORIAMBIC RHYTHMS. 


Aristophanes Lysistr. 319, 320, has the diiamb for the first 
choriamb. 
\ ~ ~ A A 5. ~ 

Ayrvy 8020 bot LOD OOUY LOL ZETVOY, &) YUVELZES, 

7 A ~ 

‘Romeo mveos zxaouevov, omevotéoy Eott Oartor. 
According to Hephaestion, Anacreon, in one poem, re- 
solved the first arsis of every first foot : 

"Avante 67 700 “Ohvumo } j 

fyumétouce On m00$ Odhvumor mreovyecot xovpas. 

It is found with the anacrusis, Aesch. Sept. 324. 

Yr avdo0s “Azar Oeo0er mepPouevay atipos. 


Sappho used it by the line. 

With the basis it was used by the Ionic and Aeolic lyric 
poets, sometimes by the line, sometimes by distichs. It is 
also used singly by the dramatists, as Soph. Aj. 1185. 


KA XA A / / = 
, y+ , 3 , Lied 4 3 , ) , 
Tis “ou veutos & more Lyset mohvahayztoy eréwr “ou Wos 5 


With a trochaic dipody following, the trimeter is used 
among trochaic tetrameters by Terent. Adelph. IV. 4. 3, 4. 


/ / / / = 


eee ee Me ee Ye 


Membra metu debilia sunt: animus prae timore 
Obstipuit, pectore consistere nil consili quit. 


The prolongation of the last syllable of the word debilia is 
here to be noted. 
The cretic also follows the trimeter : 


/ / / / 


La ae ~ i i 
Ai Kuegeiug énuavetr opyia Levzwdevov. 


The catalectic trimeter is more rare, as Arist. Lysistr. 323, 
where the diiamb stands for the first choriamb: 


A 
Te nai Koizvd.ar negigvoyro. 
With the basis, it is found in Soph. Phil. 706, 707. Ant. 951. 
Od poopar isoas yas onooor, 00% Ghhor. 
a” ~ i 2) a > 
Aiowr tov venouss?’ aereoes di.pyjotat. 
"ALL & poioidia tg Svvacyg Sewa. 


CHORIAMBIC RHYTHMS. 145 


(4) The Tetrapody or the Tetrameter.— Tetrameter cho- 


riambicus. 
/ ‘fb i / 
—vvonvy--vy——v-— acatalectus. 
/ / / | ee) 


ses PN es nse ON a aie: ND es coe at catalecticus. 
The former is frequent in the dramatists, as Soph. Oed. R.. 
483 sq. 
5 
Aewa per ovr, Seva TaKOCEL COPS oimvodEtas, 
” ‘ ee) ase , Se ey Ne 5s. 85 -) 

Ovte Coxovrt , ovt anoguczord, ort hes 8 amoeo.. 

It receives also logacedic endings: 


t A / / Noa! 


SS ee ee ee 


Soph. Antig. 153. 
Tlavvvyiorg navtas éndiPousr, 0 On8as 8 eedizdor. 
/ / f VE 


With the basis the Aeolic lyric poets used this rhythm by 
the line. 


/ / A , _ 


Soph. Phil. 1161. 
Myxéce wy Serog xoatvrmr doe méumer Budmoos cic. 
With the basis the Aeolic lyric poets used it by the line. 


The catalectic tetrameter occurs more rarely, as, with the 
basis, Soph. Phil. 681. 


"Aliov & ovtw Eyay’ oda xdvar, ovd éotdov moioe. 


(5) The Pentapody or the Pentameter.—Pentameter cho- 
riambicus.. 

t 4 / / td 

—vy ee vy envy ——vv——~v— acatalectus. 

/ / / Ve io 

—yv eave venavy—-—~ — catalecticus. 
Both are rare; the former is used, as Pind. Dithyr. Fragm. 
III. 10, with the resolution of the first arsis of the second, 
third and fourth choriambs, and with a cretic following : 

13 


146 IONIC RHYTHMS. 


/ Ia In In , (sae x 


\ , 
Tov Boomor cov “EoiBour te xadéouer. yovoy vaator wey 
MATEOWY WEAMEUEY. 


With a logaoedic ending: 


is tA 7 / = 


ee ee ee 


Philicus and Simmias used it by the line. 
The catalectic pentameter is found, as Soph. Trach. 850, 
with the anacrusis : 


C4 5 Late | , ~ , , A , yt 
AS eozonera poipa mpopaver Sohiay xa peyadhar are. 


(6) The Hexapody or the Hexameter.—Hexameter cho- 


riambicus. 
, / Ue / / v4 
ed SRD WA as Pee NALIN nga Wasa GRP NDE ceo | aes CAND as ee ees pee RN ee acatalectus. 
if td / vA Z — 


mvy envy ony nae nave catalecticus. 


The former is very seldom used; with an iambic basis and 
logaoedic ending it occurs in Kur. Iph. Aul. 172. 


rd 7. / / 14 / = 


2 ~ , , e , a eh omis 7 , 
‘Ayu te mLuras vavowtopovs yudEewr, ovs emt Tooiur 
3 id 4; 
Ehatas yidiovavow. 


The catalectic hexameter seems not to occur. 


(b) Ionict a majore. 


The Ionic a majore consists of six times, four of which 
are in the arsis and two in the thesis. ‘The subordinate 
relations are of the equal kind; that of the arsis 2:2, that 
of the thesis 1: 1. 


aati eae haat ek 
The principal arsis is accordingly the first --~- (P. 1. 
ch. 3. p. 13). It has a heavy and coarse character, and 
hence was called by Aristides Quintilianus 6vOm0g gopzixos. 


IONIC RHYTHMS. 147 


The more elevated lyric poetry rejected it almost wholly. It 
was used chiefly for satirical and obscene poems (7od0yor, 
xivadodoyot) 3 it was, moreover, never sung, but recited with 
ludicrous gestures. Hence are explained the many licenses 
which were permitted in its use. 

According to P. 1. ch. 10. p. 37, the ditrochee may be 
substituted for it; this takes place most frequently at the 
end. In the pure ionic, the long often stands for the last 

Ll 
short -—-+~, according to the analogy of the second short 
in the thesis of the dactyl. Sometimes also the shorts of the 
thesis are contracted; finally, the short seems also to have 
been put sometimes for the first long; but the passages where 
this occurs are not of critical certainty. Resolutions of the 
long, as well in the pure ionic as in the ditrochee, are frequent. 

The ionic is susceptible of only one catalexis: 

: etd i rae te! 
in disyllabum : --v»—--vy—--vy—~ 


(P. 1. ch. 7. p. 27), with the single exception of the Cleoma- 
chean verse, which is a dimet. cat. in trisyll. 

The acatalectic rhythms never terminate with a pure ionic, 
on account of its want of a close, but always with a trochaic 


dipody. 


(1) The catalectic Dipody or the catalectic Dimeter. 


he Oke (oe ie] 


——~+»|-—-~ Dimeter cat. in trisyllabum. 


—_—Y~— Vv 


The versus Cleomacheus : 
Tic civ vdoiny vuoy 
2 , 2. b) \ , 
Ewogyo ; &yo mivor. 


(2) The Tripody or the Trimeter.— Trimeter ionicus. 
Lead 748 / = 
—--vv—-—++—~»—» acatalectus. 
Awd ' jae | Ae 


——-vvy—-—-vv—~+ — catal. in disyll. 
According to Hephaestion, Sappho used the former, 
Kojocal wv 208 08 eupedews n0deoow 
LRoyevyt anahois aug éoderta Bomor, 


148 IONIC RHYTHMS. 


unless this rhythm, like most of those cited by Hephaestion 
as ionic, is choriambic; at least, so it seems according to 
the other fragment, which Hephaestion cites, which, because 
it begins with a short, must be thus measured : 


A (A 


, z lA A ~ 
Tlous téoev uvSos wahaxov warevont. 


Otherwise, the short would have to be explained as a license. 
The catalectic occurs, according to Hermann, Plaut. 
Amph. I. 1, 14—18. 


Cégit me qui hoc noctis a portu. 


(3) The Tetrapody or the Tetramcter.— Tetrameter vonicus. 
eee i Y et tA = 
—-vv——vy—-—~v—~ catal. in disyll. 


The Versus Sotadeus or Sotadic verse, used by Sotades 
and many others, also by the Romans, as Ennius, Plautus, 
Martial. Of the various licenses of the verse, see below. 


B. Rising Rhythms.—Jonici a minore. 


The ionic a minore is the ionic a majore reversed. It 
also consists of six times, two of which are in the thesis, 
four in the arsis: 


tid 321 “132 372 

The second arsis has accordingly the strongest intensity 

ae sb 
-v—-. In itself the rhythm is arrhythmic, but the ar- 
rhythmy is softened by certain means. As the groundfoot 
ends in the arsis, the rising ionic rhythm delights in the 
diaeresis, and it is possible to supply by the pause so much 
as 1s necessary to restore the rhythmical equilibrium, as, 


Miserarum est neque amori dare ludum neque dulci. 
The arrhythmy is further softened by the substitution of 


the trochaic dipody and by the peculiar break or avaxdaots 
that takes place here (P. 1. ch. 10. p. 37). 


IONIC RHYTHMS, 149 


see 3 Lode 


a a 


| ame gas mwa! 


YN ee ee ee Yee 


/ / = 


YS mee MY ee Yee 


The arses of the ionic are, in a less rigid use, resolved ; 
the thesis is but seldom contracted. 

The ionic a minore has the character of discord and wild 
enthusiasm; hence it was mostly used for the Phrygian 
mood, with the accompaniment of cymbals and other noisy 
instruments. It was especially used for Dionysiac and 
erotic poems and for phrenzied songs to Cybele. It is un- 
known to the Dorian lyric poetry; the dramatists, on the 
other hand, use the ionic frequently in choruses, whose 
subject is sometimes imploring, sometimes bacchic. It was 
also used in mourning songs. 

The ionic is capable of only one catalexis, namely, in tri- 

Le / 
syllabum vy--—v-—. On account of the termination on 
the arsis, the diaeresis predominates. 

Sometimes the ionic rhythm receives, at the end, one tro- 
chee more, as a Jogaoedic prolongation; the preceding long 
of the ionic in that case appears as a short. Such a rhythm 
might also be regarded as a catalectic. 


(1) Zhe Monopody or the Monometer.—Monometer ronicus 
a minore. 


vv me me 


does not occur; though it seems often to stand before other 
rhythms, it is in those cases not an ionic, but a dimeter ana- 
Ma 


paest. cat. -»—~», as Pind. Pyth. IX. 1. 


7 

Edo yadxacmda Tv duovixer. 

‘YxeSexto § coyveomsl’ “Aqoodiza. 
13* 


150 IONIC RHYTHMS. 


(2) The Dipody or the Dimeter.—Dimeter tonicus a minore. 
TAPS PAY. 
vvy——v»v+—— acatalectus. 
Y fae? / 
vv——vv—  catalecticus. 


v 


The acatalectic has three forms: 


Y Se? Bek 

vvy——-~»—-— the pure; 
Lali oF a 

vy——-—v+—-~ the polyschematist ; 
ve / =. 


vv —v—v—- the broken. 


In the pure form it was used according to Hephaestion 
by Aleman: 


€ A 
Exarov wev Avs viot 
Tude Moco xooxomemhor. 


The ionic systems, of which below, are mostly arranged 
by dimeters, but in such a manner that a monometer some- 
times remains. As the Anacreontic verse, versus Anacre- 
onteus, it appears mostly in the broken form, but sometimes 
the pure or polyschematist form occurs with the broken. In 
antistrophic poems, the polyschematist or broken form may 
correspond to the original form. 

The Anacreontic verse is used sometimes by the line, 
sometimes by systems. It also occurs singly, as Aeschyl. 
Agam. 746, 747. 

Avcedoos xc Svcouthos 
Svpeve [Tovepidouct. 


The dimeter sometimes takes a trochee as a logaoedic 
ending : 
7; A, / — 


with which often a system closes, as Eur. Bacch. 537, 555. 
"Ect cot tov Boowiov péhyoet. 
Doviov 8 avdoog VBow xaraczes. 


A remarkable logaoedic ending is found in the closing 
verse of the Anacreontic system, in Eur, Cycl. 510. 


IONIC RHYTHMS, 151 


Yat f 


Déoe wot, Seive, péo aoxov évdog jor. 


According to Hephaestion, the catalectic dimeter was used 
by Timocreon: 


DixEh0s “oUWoS ano 
loti tay patio Epa. 


(3) The Tripody or the Trimeter.— Trimeter vonicus 


a minore. 
ra, D4 la; 
vy eevee acatalectus. 
LP Lot , 
vee—vy——»~—  catalecticus. 


The acatalectic trimeter seems to have been much used 
particularly by the Aeolic lyric poets. Hephaestion cites 
from Sappho: 


Pat / / / 


ee ee _ 


Ti we Tlavdwrig agava yeldoor. 


/ / = Vie, 


further: Giienoh Ue e UR 
, ” , 
LueheSauav ovag Kumopoyerna. 
Anacreon: 


/ 7 12 saad 


by VA ~ , > 5) A BDI bY 
Ano pot Guveiy yévowr. od yao av addy 
Avois & mova yévoit’, ovdaua taves. 
[A 


With a logaoedic prolongation: Anacreon in Hephaestion: 


Bt hf a 


Meyda 8 yure w tows Exower wore yoduers 
Tledéxer, yemegiy & edovoer év yaoudon. 
According to Hephaestion Anacreon used the catalectic 
dimeter : 
Avovicov caviar Buccagisdes. 


152 IONIC RHYTHMS. 


(4) The Tetrapody or the Tetrameter.—Tetrameter ionicus 


a minore. 
ae f YT Cant, Cat 
VE i as a ean a ee CAT AIOCLtS: 
Lame 2 LOZ. ase: / 
CV ae vOo niveau ee Cataleetious 


The former often apparently occurs in the pure form; it 
is then a part of a system. It is used singly, as Aeschyl. 
Agam. 745, 758. 


TE, Yaad cat, 


Ome eee Oe a ee ee ee 


Tlapaxdivove énéxouver 8é yauou mixpag tehevras. 

Aiya 8 tddov povogowr siut, to yao SvaceBes Egyor. 
Anacreon in Hephaestion : 

ss 
Haga § yvre Tv dopardgor xaredvr komra pevyor. 
The catalectic tetrameter is the versus Galliambus, which 
occurs sometimes pure, sometimes polyschematist. Accord- 
ing to Hephaestion, the tragic poets Phrynichus also used 
the catalectic tetrameter, as, 
To ye wiv Esivva Sovous Loyos, womeg Leyer a 
> , > ~ oa ad foe ~ , 
Oheout, xamoreety oSst yahum neqahar, 

and the comic Phrynichus: 


~ , 
"A § avayxa “oD legevow zadapever ponoouer. 


STICHIC COMPOSITION. ie 


SiG ETON TA 


THE COMBINATION OF SIMPLE RHYTHMS IN LARGER 
RHYTHMICAL PORTIONS. 





Co Aa Ea Ter: 


COMPOSITION BY THE LINE (STICHIC COMPOSITION). 


The composition xaz@ oztzor is the constant repetition of 
one and the same verse (P. 1. ch. 9. p. 33). It is appropri- 
ated to those poems in which composure and equability of 
feeling prevail, as in the Epos, in the dialogue of the drama 
(Diverbium) and in certain lower classes of lyric poetry, 
especially in witty and satirical poems. The verse itself, 
which is thus repeated, forms a rhythmical whole; it must 
therefore manifest itself as such by its rhythm. The rhythm 
is either simple, that is, consisting of equal series, or com- 
pounded of different series. Both the simple and compounded 
can only satisfy the ear as a whole, when they have a fixed 
beginning, a fixed middle, and a fixed conclusion. The 
middle forms the principal mass, and to this the beginning 
and the end must stand in an appropriate relation. Ina 
rhythm which is too small, as the Adonian or ithyphallic, 
these parts cannot be distinguished; hence such rhythms 
are less adapted to repetition by the line. Diaereses and 
caesuras mark the different parts of the verse. ‘The dis- 
tinguishing marks of the close are the end of a word, the 
anceps and the hiatus, and in certain verses the catalexis also. 

In a freer use, many poets have allowed themselves the 
anceps and the hiatus within a verse, at the end of a series; 
asynartete verses. 

As it regards the rhythms themselves, which are used in 
verses to be repeated by the line, they must be so constituted 
as to allow variety of measure, because otherwise they would 
be wearisome by uniformity. The most complete of all 
such verses, and at the same time the most ancient, is the 
heroic hexameter, which, with all its unity of rhythm, appears 
under an infinite variety of forms, which are brought about 


154 TROCHAIC STICHIC VERSES. 


partly by the different caesuras and diaereses, partly by the 
alternation of the spondee with the dactyl; hence poems of 
the greatest compass like the Iliad and Odyssey, were written 
in the hexameter; every other verse would have wearied the 
ear. On the other hand, the smaller the compass of the 
poem, the simpler also may be the verse. 

In verses composed of different series, one series forms 
the principal series, the others are attached to it as an intro- 
duction or a close. We shall always consider such verses 
under the head to which the principal series belongs. It is 
impossible here to cite all the verses which were used by the 
ancients by the line; we shall, therefore, limit ourselves to the 
more important, and those of which considerable remains 
have come down to us. 


JI. VERSES USED BY THE LINE OF THE TROCHAIC-IAMBIC KIND. 


A. Trochaic Verses. 


/ Si) =i Ae = 
(1) -v-v ee renee nee 
The verse consists of a dimet. troch. acat. with a dimeter 
creticus following, in which the first cretic always appears 
as a first paeon. ‘This verse is used, Arist. Lysistr. 1014— 
1035. 


») \ >) , 
Ovdér gore Onoloy yuranos dMaywrteoor, 
\ ~ bs t \ 
Ovdée mv0, ovd wd avaions ovdenta m0pdahig. — 
~ x ~ A 
Tavra erro. ov Svrieis sita modeneig enor, 
b ) 1% \ a \ A. 4 FF yo o> , 
‘Sov, @ Movyoe, Got BEBauoy Ew Exe Cplhyy 3 — 
¢ \ ~ ~ lA 
Ro eyo wowy yurainas ovdéenotE MAVGOMML. — 


The verse has commonly the diaeresis after the trochaic 
dimeter, but it is seven times neglected; in verses 1014, 
1017; 1021, 1022, 1026, 1033, 1035: 


(2) -v-~=--- 
A dimeter troch. with ithyphallic following. Hephaestion 
erroneously classes this verse with the asynartete. An ex- 
ample is cited by Hephaestion, probably from Sappho: 


— VM ee VY ee VY 


TROCHAIC STICHIC VERSES. 155 


y ry Ves ? 5) , 

Eort pou xahe mais yovosoiow ardenowow 

In elites f | be ‘SY cy , 
Eugeon éyouu woogar, Kinis a yanara, 

> \ ~ 3 \ 2o\ Z. ~ 2'q@? 9 , 
Art tas eyo ovds Avdiavy nacay, ovd eoauvvar. 


/ -7 -) _-) - 


(3) peeve see oe see ee 


Tetrameter trochaicus acatalectus. 


Versus octonarius. 


It was probably used by the line by the Greek lyric poets ; 
Hephaestion mentions an example from Anacreon, in which 
the diaeresis after the second dipody is neglected: 

K209i wer, yeoort0g evedeion yovodmenhe xovon. 

The Greek dramatists do not use this verse; but it occurs 
very frequently in the Roman writers, both in tragedy and 
in comedy. ‘They allow the known licenses in the uneven 
places, and resolve even the last arsis. The principal cae- 
sura is after the second dipody; but the diaeresis is also 
sometimes neglected. This rhythm is commonly used in 
those passages, in which a passionate excitement occurs. 


Take as an example Terent. Eun. IV. 6. 1—8. 


Crédo equidem illum jam adfuturum, ut illam a me eripiat; sine 
veniat. 

Atqui si illam digito attigerit, dculi ifli ilico éffodientur. 

Usque adeo illius ferre possum inéptiam et magnifica verba, 

Verba dum sint, vérum si ad rem conferentur, vapulabit. — 

Thais, ego jam didum hic adsum.— O mi Chremes, te ipsum 

éxpeto 

Scin’ tu turbam hance propter te esse fictam? et adeo ad te ad- 
tinere hance 

Omnem rem?—ad me? qui quaeso, istuc? quia dum tibi so- 
rorem studeo 

Réddere ac restituere, haec atque huiusmodi sum milta passa. 


Plautus sometimes makes the verse asynartete, inasmuch 
as he allows himself the hiatus in the diaeresis, as Bacch. 
IV23.1, 


Petulans, protervo, iracundo -animo indomito, incdgitato. 


156 TROCHAIC STICHIC VERSES. 


V4 / -/) CY pi aed 
vw 


(1) =+-~=~- 


Tetrameter trochaicus catalecticus. 


ee ee ee Yee 


Versus septenarius or quadratus. 


This verse was used both by the lyric poets (Iambogra- 
phers), and by the dramatists; by the latter in those passages 
of the dialogue, in which a stronger excitement of the 
feelings is to be marked. 

The iambographers strictly observed the diaeresis after 
the second dipody, and among the trisyllabic feet wholly 
excluded the dactyl, except in proper names. 

The tragedians observed the diaeresis with equal strictness ; 
it is found neglected only twice, Aesch. Pers. 165. 


Tuvta wor Sian peor apouczos ect &v pogo, 
and Soph. Phil. 1402. 
7 ~ ef ~ 3 
Et Soxei, ote(youev. — wo yevraioy elonzws eos. 


In the latter passage, it is excused by the change of persons. 
The comic poets did not always observe the diaeresis, as 
Arist. Nub. 580. 
M,® é1 Sdn vG, tor 7 Boovtomer 4 WexaCouer. 
Resolutions of the longs are more frequent in the first foot 
of the dipodies than in the second. In general, trisyllabic 
feet are more common in the later tragic writers (after Ol. 
89) than in the earlier. The last arsis but one is for the 


most part only resolved when the preceding foot is a trochee, 
as ur. Phoen. 609. 


> , , > > > , e ‘ , 
Avocws mEeqguzas.— aid ov maroidos, ws ov, modelos, 
comp. also Jon. 1254. — Arist. Equit. 319. 
7N \) Sa Daf \ o UA 
Ny Av zaue tovr EMSoace Tavtoy, ware xaTayehoy, 
Comp. also Av. 281.— The examples in which the spondee 
precedes the seventh foot resolved, are very rare: Arist. 
Vesp. 461. 
, c ¢) s A 
Alia wa AC ov budias ovtas ay avtorg Siepeyes. 
The tragedians avoid terminating the third dipody in a 
spondee, if this forms the end of a polysyllabic word. 
Vhe comic writers do not observe this, Arist. Nub, 577, 
58. 


TROCHAIC STICIIC VERSES. Gye 


Thheiste yao Cer andytwr wg ehobaus thy able. 
Lica cov Seoiaw exO yor Bvocodeujy Taghayova. 
The tragedians, and for the most part the comic writers, 


excluded the dactyl. Still it was permitted in proper names :. 


Eur. Orest. 1535. Tph. Aul, 355. 


=the , | b) AY , N if GQ ~ f 
Svyyovov & e.uav Mviadyy te tov cade SvrSowrta pot. 
dd / 
Xiiior coyor Moiduov ze wedlov éumdicus dogos. 
Comp. Plut. Polit. praec. p. 811. F. 
; \ \ S ; \ \ ¢ \ 
Myzioyos wey yoo otoaryyet, Miytiozos dé tag odovs, 
, 2 ” > ~ iP. \ y+ 
Myriozos 0 a“orovg exonza, Miyrioyos b& tudgira, 
x , a , r 5) re 
Mycwzo ds muvra xsitat, Myziogzos 8 otuwketae. 
As an example of the catalectic tetrameter in the tragediang,, 
take the passage, Aesch. Pers. 702 sqq. 
5] b) \ , \ S' ~ b) ? 
AL} étet Séog rudaor Got fern cer Plocerttt, 
Tov éuov Lextowy yEQUUE Survope euyeves JUre 
Kiavudtor disuse torde xa your cages ti wot 
Phe > li Ol Of. iz > ta eS 
Aor. ArIoonen § uv coi mjuat av tvyzor Bootois. 
E *: \ \ , \ > , N 
Tohia wsv yao &&% Guiacons, noida 8 &% yeocov nunc 
ue ~ ¢ iP N ~ , 
Tivveva Ovyrois, 0 udoowr Biotos 1v THOT MOOG. 
j i , fi ee Fee 
As an example of the tetrameter in the comic writers, Arist.. 
Av. 302 sqq. 
\ 3 lod ¢ \ A 
Kizza, TyUyOD , x00vd08, thea, VIODVUIS, MEQIOTEDM, 
Neorg, koe Parca, x0xxvS, EovOVdTOUS, xEB)imVvOIS, 
\ 
Thoogvats, zeuzris, cohuupis, dumedig, pry, Sovow.— 
ie bo >! ig 
Oi miamiCovoe zat toKzovot Ouaxexouyores. 
5 = ~ ” U 14 ie 
Ay amethovaly ye vepy 3 Oimol, zExivucY YE TOL 
eM Aya > \ eget 
Kat préenovow ete of x08. 





~ \ > x ~ 
Lovo msy xauot Ooxst. 


The Romans also used this verse frequently. Asa lyrical 
verse it occurs in the Pervigilium Veneris, which, at least 
the greater part of it, belongs to a later time; hence the 
remarkable irregularities, as the s arenes or anapaest in the 
uneven places, in verses 25, 91, 62, 55. 


Totus est in armis idem, quando nndus est Amor. 
Perdidi Musam tacendo, nec ne Phoebus respicit. 


i4 


158 TROCHAIC STICHIC VERSES. 


Unde foetus mixtus omnes aleret magno corpore. 
Jussit omnes adsidere pueri mater alitis, 


The verse is very frequent in the dramatists. They allow 
the known licenses, only they preserve the last trochee pure. 
The diaeresis is often neglected, as Plaut. Mil. glor. ID. 
2. 38. 


Domi habet animum falsiloquum, falsificum, falsijirium. 


Plautus has the hiatus often in the diaeresis, as Amph. V. 
1. 42. 


Manibus puris, capite operto. lbi continuo cdéntonat, 


and sometimes also after the first or third dipody, as Asinar. 
Ee. 26. 


Edepol hominem — infelicem, qui patronam cémprimat. 
>» qui p p 


Poen. III. 1. 35. 


Quidquid est pauxillulum illuc: nostrum id omne — intus est. 


For an example of the catalectic tetrameter, as used by the 
Roman dramatists, take Ennius in Cic. de Orat. II. 58. 


Multimodis sum circumventus, morbo, exilio atque inopia; 
Tum pavor sapi-ntiam mi omnem ¢xanimato exp ctorat,; 
Alter terribilem minitatur vitae cruciatum é¢t necem, 

Quaé nemo est tam firmo ingenio et tanta confidentia, 
Quin refugiat timido sanguen atque exalbescat netu. 


Terent. Eun. IJ. 2. 17—22. 


Est genus hominum, qui ésse primos o6mnium rerim volunt, 
Néc sunt; hos conséctor; hisce ego non paro me ut rideant, 
Séd eis ultro adrideo, et eorum ingenia admiror simul: 
Quidquid dicunt, latdo, id rursum si negant, laudo id quoque : 
Negat quis? nego; ait? dijo, postremo imperavi egomct mihi 
Omnia adsentari. Is quaestus nunc est multo ubérrimus. 


, Kh ee Sh a 
Tetrameter trochaicus claudus or Hipponacteus or quadratus 
scazon. 
A satirical verse, which was formed by reversing the clos- 
ing lamb of the ‘catalectic tetrameter. ‘The arrhythmy re- 


sulting from this produces a comic effect. The diaeresis, 
after the second dipody, is also the principal caesura. Re- 


TROCHAIC STICHIC VERSES. 159 


solutions seem frequently to have been admitted, especially 
in the first part of the verse. It was not well possible for 
the last foot to assume the form of a tribrach. The frag- 
ment of Ananius in ‘Athen. VII. p. 282. B, may serve as an 
example: 

i ‘ A . » “4 4a 2 ol ao dé A mS . 

BECO HED LOOUNOS EQUOENE Une eye tteds 
Tov xalov S dwar aorctor xaolg & ovasys pvddov* 
L180 0 eo Oisw ymatons GOworwmooug xpstus, 
, byw Ag if \ , aw ed y” 
Asipazos 0, 0tar tToamewmow Zul MATEWGL OVz, EOE. 
eat Eh ~ Cys (ea? A ~ 5) , 

Ka xvvov avey tod won xo hayov xahomyjxor* 

eyes i ps 

‘Oiog avd, ora dégos ZY unyetcu Bapoalwou. 

Kita 8 éotiy éx Oar coors Survos OU “UXO” Poape, 

"Alla nadow tyOvecow furmgens EY MUTTWTE. 

Bods dé mardets Soxéwo piv xa wsowy vuatav ydvs 

c , ; 
AMERYS. 


vv 


/ ee A Led nde. coal A 


Pentameter trochaicus catal. vméouetgor. 


Callimachus in Hephaestion and Bentley, ad fragm. Cal- 
lim. CXV. 

"Eozerou modvg pev Atyaiov Svatunsas a otvnons Xtov 

"Augopers, mohvg dé Aeoping cwtov véxtaug otvavdns ayor. 


— /; _ 


(Vierdiwee wee 


Hephaestion erroneously numbers this verse, consisting of 
two ithyphallics, among the asynartete. He quotes as an 
example from Sappho: 

Aevoo, Sevte Moioat, yovoeor humoioat. 
/ , = 
Versus Saturnius. 


This verse consists of two ithyphallics, the first of which 
is preceded by the anacrusis. It is originally an Italian 
metre, and occurs, therefore, in the oldest monuments of 


160 TROCHAIC STICHIC VERSES. 


the Latin language, in epitaphs and religious songs (Carmen | 
saliare). As the doctrine of quantity gained entrance into 
the Latin language from the imitation of Greek models only, 
it is evident that in this oldest metre originally little or no 
regard was paid to quantity, but that the rliythm of the verse 
was indicated by the word-accent.* When at a later period 
Livius Andronicus translated the Odyssey, in Saturnian me- 
tre, into Latin, and Naevius wrote the Punic war in the 
same metre, the verse seems to have been governed more by 
the rhythmical laws of the Greeks by adopting the above 
scheme, but allowing the same liberties with which the 
older Roman dramatists treated the trochaic tetrameter and 
the iambic trimeter. 

We may, therefore, assume two epochs for the Saturnian 
verse. In the first epoch, until Livins and Naevius, its 
measure is yet very unsettled; the rhythm is, however, evi- 
dently trochaic. It usually corresponds to two ithyphallics, 
sometimes with, sometimes without an anacrusis before the 
first ithyphallic. Sometimes the last syllable or even the 
last foot seems to have been wanting to the second ithyphal- 
lic; may, it is said that there were hypercatalectic verses, as 
the grammarians, at least, for example Atilius I’ortunat. p. 
2679, affirm. It is not to be denied, however, that the 
grammarians, by applying the metrical laws of the later 
Latin poets to the Saturnian verse, considered many a verse 
as anomalous which in fact was not. 

The song of the Arvalian fraternity may serve as an ex- 
ample of Saturnian verses of the first epoch: 


Ennos, Liases, juvate, 
Neve luérvem, Marmar, sins incirrere in plcores, 
Satur flrere, Mars, linen salis sta berber. 
Semunis alternei - advocipit conctos. 
Ennos, Marmor, juvato. 
Triampe, triumpe. 


It is to be observed that pleores (flores) should be read as 
two syllables; moreover, the lengthening of the @ in satur 
(as in guatuor), the omission of the diaeresis in the third 
verse, and the hiatus in the diaeresis of the fourth verse, are 
to be noticed. ; ; 





* Carmina saturnio metro compta ad rhythmum solum componere 
vulgares consuerunt. Serv. ad Virg. Georg. LL. 385, 


IAMBIC STICHIC RHYTHMS. 161 


The older among the epitaphs of the Scipios are evidently 
of a similar Saturnian rhythm, which Naevius likewise em- 
ployed in his own epitaph. They can easily be arranged as 
verses if we do not everywhere insist upon the Saturnian 
verse properly so called. We select the following epitaph 
as an example: 


Cornelius Lucius Scipio Barbatus. 
Gnaivod patre prognatus, fortis vir sapiensque, 
Quojus forma virtutei parisuma fivit, 

Consol, censor, aedilis quei favit apid vos, 
Tatrasid, Cisauna, Samnid [que] cépit, 
Subicit 6mne Lucania dbsidésque abdotcit. 


The ground rhythm of the later Saturnian verse was: 
aoe ae a 
ee, | Sa eat ae 
The resolution of the longs, the middle time for every 
short, the anapaest for the iamb, and even the resolution of 
the middle time were everywhere allowed. The diaeresis 
was frequently neglected, and the hiatus sometimes admitted 
in it. The grammarians quote as examples: 
Dabint malum Metelli Naevio poetae. 
Magnim numerum triumphat héstibus devictus. 
Ferint pulcras creterras, alreas lepistas. 
Duellé magno dirimendo, régibus subigendis. 
Fundit, fugat, prosternit miximas legiones. 
Summas opes qui regum régias refregit. 


We quote finally the epitaph of Naevius in Gellius, 1. 24. 


Mortalis immortalis flere si foret fas, 

Flerent divae Camoenae Naévium poetam. 
Itaque postquam est Orcino traditus thesauro, 
Obliti sant Romae loquiér Latina lingua. 


B. ITambic Rhythms. 
—" 


ol 
(1) v=v=+-+- 
Dimeter acatalectus. 


It was sometimes used by the Romans, for example, by the 
emperor Hadrian: 


14* 


162 IAMBIC STICHIC RHYTHMS. 


Animula vagula, blandula, 
Hospes comesque corporis, 
Quae nunc abibis in loca 
Pallidula, rigida, nudula, 
Nec, ut soles, dabis jocos. 
Seneca, too, has such verses in his choruses, as Agam. III. 2. 


Instant sorores squalidae, 
Sanguinea jactant verbera, 
Fert laeva semustas faces, etc. 


and also Auson. Epigr. XXIX, XCIV, CX XXVIII. 


-—7 —7 / = 


(Oye es 


A dimeter with an ithyphallic following, as Callim. Fragm. 
? f=) 
CXVI. 
hay ae 2, 14 ~ ~ ~ ie > fe 
Lveot -Anokhoy tH yoo, tis AvOVS Ux0vM * 
SN ~ 7 , 
Kai tov Lowror io0oujr, got x ‘Agoodira. 
Aristoph. Vesp. 248—272. 
7 \ BL , \ , 6 
Tov nydov, @ mateo maze, ToVTOM GvAaeaL. — 
he ~ \ ie 
Kiogos end & vey Lupo tor dvyroy moopvoor. — 
4 ~ , 
Ovz, dda cdi wor Sox TOY AvyroY meOBiGELY. — 
The diaeresis after the dimeter 1s always observed, except 
v. 202 and 265. 
ES = 5 
Kai cavre covlaiov onavilortos, wvorte. 
’ / 
One ~ - ee 
Limo yevso0ur zumuvevoa Poveov avtois. 
Hephaestion erroneously numbers this verse among the asyn- 
artete. 


aot fae TEN J 
(3) Fe ee Ye Ye ee VY a YY Oe YY OU 


A dimeter with a tetrapodia troch. cat. following. Ar- 
chilochus in Hephaestion : 


, ¢ ~ ete? \ , , 
Anunteos uyrys zai Koons tyy maryyvow ospor. 


Se ae lb cat dae Geet 


Trimeter acatalectus. 
It underwent various modifications, according to the va- 


IAMBIC STICHIC RHYTHMS. 163 


rious kinds of poetry to which it was applied. We distin- 
guish two principal kinds of the trimeter used by the line, 
that of the iambographers and the dramatists; the latter, ac- 
cording to the kinds of the drama, is again divided into the 
tragic, satyric and comic. The doctrine of the caesuras and 
diaereses is common to all, which we, therefore, premise. 
The feet of the iambic trimeter may be arranged accord- 
ing to the double relation. As it has six feet in all, two feet 
or one dipody belong to the thesis, and four feet or two di- 
podies to the arsis: ‘ 
—~a : 


t:6—a: 12. 
On account of the even numbers of feet, the trimeter might 


also be arranged according to the equal relation, so that 
the thesis would have three feet and the arsis three: 





From this double arrangement of the rhythm follows the 
variety of the caesuras and diaereses. It has two principal 
diaereses and two principal caesuras : 

ra / 

vov—|[vov—+—~-— first principal diaeresis. 
/ / 

vov—,v|—v—»—~-— first principal caesura. 
/ re 

v—v—v—|v—»+-~»-— second principal diaeresis. 
/ / 

vav-v-,~|—-»-—~- second principal caesura. 


The first principal caesura is called caesura zevOqutmeons, 
on account of the five half feet which it separates; the se- 
cond émOyuiueoys, on account of the seven half feet which it 
cuts off. The first caesura is by far more frequent, because 
it runs parallel to the division into dipodies, and at the same 
time corresponds to the 1ambic relation; the second is more 
rare, because it separates the feet of the second dipody. The 
same observation applies to the two principal diaereses. 

Since the character of the 1ambic rhythm js rapidity and 
flexibility, it prefers the connection of the series by the caesura 
to their separation by the diaeresis; the caesuras, therefore, 
are more frequent than the diaereses. 


164 IAMBIC STICHIC RHYTHMS. 


Besides the principal diaereses and caesuras there are also 
secondary diaereses and caesuras. 


v-v—-v—v—|-—»—> secondary diaereses. 


View aM view 


ve Se awe 
ret uaa aan secondary caesuras. 


vevevaeviy[ ov 


vow vevae ny | = 


The first principal diaeresis is frequently found, as Soph. 
Ant. 745. 

Ov yao ofPeg, Tas YE TAS DEOY MATO?. 

The first principal caesura, the caesura zerOnuimeons, is 
the usual caesura of iambic trimeters. An apostrophized 
word does not destroy it. ‘The caesura, in this case, occurs 
after a short or long syllable, as Soph. Aj. 12. 

"ET éoyor ory, evvémew 8 otov yaow. 
Aesch. Choeph. 888. 

Abdois dLovpEed?’, WomEQ OvY extElvaper. 
Aesch. Suppl. 438. 

Kai 54 réqoacpace Sevoo & eoudd deca. 
Aesch. Suppl. 195. 

Zevous auetpecd, wo enjdvdas moenet. 

The second principal diaeresis divides the verse into two 
equal parts, and renders it similar to our Alexandrines. The 
ancients, however, avoid such verses, and we find them, 
therefore, seldom without some softening modifications, as 
Arist. Av. 200. 

EdidaSa tiv pwviy, Svvov modvv yooror. 
Less striking is the diaeresis when an apostrophized word 
requires a rapid connection of the two parts, as Soph. Oed. 
R. 328. 

Tlavtes yao ov qooreiz, éya 8 ov unmote, 
or when a foot caesura immediately precedes or follows, so 
that either the third arsis or fourth thesis falls upon a mono- 
syllabic word, as Soph. Phil. 1040. Aesch. Sept. 1046. 

"ALL ob matoga yh, Geol C éexowiot. 

"ALL ov modus otvyei, OV TYATELS TAQ, 


IAMBIC STICHIC RHYTHMS. 165 


even if the first word becomes monosyllabic by elision, as 
Aesch. Prom. 374. Soph. Elec. 1638. 
| 
\ ~b& ad ) , 
Noyes: ceavtor 600, omme Emiotacne. 
OMe ~ Cree \ ~ 
TY YAO EV POOVIES, TOW HYHGEL OV YOY. 
‘0 7a Pooriis, val t 
Frequently both take place, as Soph. Phil. 15. 
"ALL Zoyor HSH GOV, Ta Loiy VaNQETEIY. 


We must cae as everywhere, be cautious not to take a foot 
diaeresis for a principal diaeresis, and thas unnecessarily 
increase the number of verses resembling the Alexandrines, 
as Soph. Elec. 15. 


~ 6] 4 } \ \ , ee 
Nov ovy Oogota, zat ov pihrace Sévoor, 


has the first principal caesura, not the second principal di- 
aeresis. 

The second and third foot is, in tragic poets, rarely con- 
tained in one word. Where this is the case, the subject 
requires the grave rhythm of such a verse, as ‘Aesch, Pers. 
465, 509. 


— 2p 


G ~ ¢ ~ , 
Zeokns 8 avoumser xanwv ooay Badvos. 
, 7 Next tf 
Oolxyy mepuourtes moytg m0A1.@ MOVED. 
nN . : = aN é ; ¢ a , . 
The second principal caesura, or caesura epOyummeoys, is, 
next to the first, the most common, as Soph. Ant. 385. 
rn lef , > \ Si 
7v6 sthouey Ountovoar' adda nov Koéoyr ; 
The apostrophe does not destroy the caesura, as Soph. Elec. 
1110. 
Sif \ Z , 
Ova oda tiv civ xdySor, GALA MOL yéowr. 

Sometimes a verse has neither of the principal caesuras or 
diaereses, but a secondary caesura or diaeresis. They make 
usually little impression, and often serve only to emphasize a 
word. ‘The first secondary diaeresis usually effects this in 
addresses, as Soph. Ant. 162, 223. 

ff x \ x , ~ ta 
Avdgee, TO MEV by moh E08 dopahos Heol. 
"Avas, &00 Mev OVY OMWS THOS UT. 
The second secondary diaeresis has almost no effect what- 


ever, on which account it does not often occur, as Soph, 
Elec. 410. 


>] , , , ~ Be 4 
Lz deatos tov vuxztégou, Soxety mot’ 


166 IAMBIC STICHIC RHYTHMS. 


in like manner the third secondary diaeresis, as Aesch. 
Prom. 880. 


‘ cr 
Tiv ainvyoror ¢ ange Awdoryy, ve. 
Neither is the first secondary caesura of much effect, ex- 
. . . . . ’ 
cept that it serves sometimes to emphasize an important 


word, as Soph. Oed. R. 1040. 
Ovz: adda mony addog &di/Swol uot. 
aa! 
The second and third secondary caesuras are likewise with- 
out effect, as Soph. Aj. 895. Oed. R. 449. 
Téxpijooay, oixtm tode Guyxexomsryy. 
Ayo SE cow tov GvSou TOvTOY, OV MALL. 
/ , 
The fourth secondary caesura is very rare and the word 
next to it usually belongs so closely to what follows that in 
consequence of this connexion the caesura is less striking, as 
Soph. Oed. Col. 573. 
om \ A \ 
Qor éoti por to Lowmov ovdev ado, mdny 
) ~ a ed 
Einew & you So. 

All these caesuras and diaereses divide the verse into two 
parts; there are, however, sometimes trimeters which have a 
double caesura, or a caesura and a diaeresis. Such systems 
consist, therefore, of three series, as Soph. Oed. R. 927, 
1064. 

A ad sy af 
Steyr pev aide’ xavzos évSor, w eve. 
og ~ ~ 
Ouws mPov por, Mocoma, wy Soa Tabs. 
In connexion with this if should be mentioned that the 


dipodies are separated by the diaeresis which occurs some- 
times in comic poets, as Arist. Nub. 686. 


Didosevos, Medyjoias, Auvrias. 

Thus the poem of Castorion to Pan was, according to 
Athen. X. p. 454. F., written in trimeters in which the 
single dipodies were separated by the diaeresis. 

Xt tov Bodog vupoxtiaorg Svoye(ueoor 
Naiovd’ Sos, Onoovoue [lav yOor Aouador, 
Kihijow yougi tS éy copy mayzdex enn 
Lurisic, avak, Svoyroora uy copois uAvew, 
Movoomode O70, xipdyvtoy Og pwetliyw teig. 


IAMBIC STICHIC RHYTHMS. 167 


The comic poets, moreover, were allowed to separate each 
foot by the diaeresis, whereby the verse became very bur- 
lesque, as Arist. Vesp. 979. 

S : 2 ne. 

Kazapa, xataga, xataBba, xaraBa, xatapyooucy, 
where especially the anapaests seem to require the diaeresis. 
Wherever such verses occur in tragic poets, the diaereses 
are foot diaereses only, as Eur. Hec. 228. 

Tor cor. copor tot xav naxoig, & Sst, pooveiv. 
Finally, trimeters occur frequently which have foot caesuras 
and diaereses only. 


(a) The Trimeter of the Iambographers. 


The iambographers, among these Archilochus, use the 
trimeter commonly in such a manner as to preserve the 
iambs pure, as 

Tlareg AvicuBa, noiov époacw tds. 
The tribrach and dacty] occur sometimes, as Archil. in 
Athen. XII. 523 D. E. 
Ovd goar0s, otog dui Stows Gous. 
They did not admit the anapaest. 

The Roman lyric poets, too, employed trimeters by the 
line, as Catullus 1V, XX, which poems consisted altogether 
of pure iambs; Carm. XXIX, in which inv. 21 alone a 
spondee occurs in the beginning ; ; and Carm. LII, where the 
spondee occurs in the first two dipodies. 

Horace vsed the iambic trimeter but once by the line, 
Epod. XVII; with him spondees usually alternate with 
lambs; he has also the tribrach and dactyl, as v. 12, 65, 74. 

Alitibus atque canibus homicidam Hectorem. 
Optat quietein Pelopis infidus pater. 
Vectabor humeris tunc ego inimicis eques. 


Of the same kind are the iambs of Martial. 


(b) The Trimeter of the Greek Dramatists. 
(«) The Tragic 'Trimeter. 
Dignity which is the distinguishing character of tragedy, 
requires that the spondee be frequently admitted in the odd 


places and that trisyllabic feet be more rarely used. ‘The 
subject, however, requires frequently a greater rapidity, and 


‘ 


168 IAMBIC STICHIC RHYTHMS. 


in that case it is usual to preserve the iambs pure and employ 
more frequently resolved feet. 

According to Porson’s observation (praef. ad Eur. Hee. p 
30 sqq.) the spondee does not occur in the fifth place, if the 
caesura severs It: 

CEN = 4: tA 
Jovewavoa|oee 
The spondee, however, is not offensive : 

(1) When the subject requires so grave a rhythm, as Eur. 
Ton. I. 

Mthas 6 7Ekx€0OiGl POTOIS OVLUVOY. 


(2) When the second syllable of the spondee is an enclitic 
or a particle like VMs usr, O¢, av, Which belongs closely to 
what goes before. The verse has, in that case, usually 
another principal caesura, commonly the second, or, although 
more rarely, the second principal diaeresis, as Eur. Iph. 


Taur. 942. Aesch. Prom. 107. Soph. Elec. 413. 
bees , 
THLuvvopecda puyades* er Oev wor 208«. 
eee 
Oidy té mot cac8 éati* Ovytoig yao yen. 
1] \ 2 ” ee) , 
Hit wot Leyorg Thy OW, ETON GY TOTE. 
Similar is the case when a preposition belongs closely to 
what follows, as Soph. Oed. Col. 664. 
iat \ 5, , ” ~ A 
Chuoceiv Mev ove Eyoye xuvEv TIS EUS. 


(3 ) The spondee is only apparent when the words puiy and 
VUiP help to form the fifth foot, followed by a word which 
begins with a vowel. For then it should be written 7am and 
vu, as Soph. Elec. 1328. Oed. Col. 2a: 


y+ = 
TT vovs eveoty ovtts vw e7eviy. 
~ Y ~ , ie - 
lag yuo tig yvSa TOTO 7 Huy EuTOQOY. 

(4) The spondee is allowed when an apostrophized word 
requires a pean with the following word, as Soph. Aj. 
TiO. Philoct.22: 

Wave Lise) , & Higat © ~ ) ” 
sect avaccey, ov 0d yyett oinoder. 
as \ ~ ié 2: 5] ee 
A Ot TOOSELI OY CTY, CHUGW EIT EZEL. 
Of the same class may be considered the case, when the 
) 


particle ay precedes an apostrophi zed word. 
(5) When the word ovdeic, ovdér is divided between the 


IAMBIC STICHIC RHYTHMS. 169 


fourth and fifth foot, it is to be written ovd’ eg, ovd ev, as 
Soph. Oed. Col. 1022. Eur. Alc. 671. 

Et & eyzoureig qevyovow, ovd év Set moveiy. 

n 3 J b) Cz Fi 

Hy & eyyvg 1.04 Davatos, ovd sig Bovderat. 

(G6) Position before a double consonant serves as an ex- 

cuse, as tur. Hee. 729. Androm. 346. Iph. A. 530. 
TT neig nev ovy éewpev, ovdé Wavouer. 
~ f 
Devyer tO THVTHS GHPOOY, GAha WEvCET HE. 
Kaw ws vasoryy Ovua, xara wevdopet. 
(7) Proper names furnish an excuse, as Aesch. Pers. 321. 
s ~ De ee aA > , wT 
Noyor, ot éodh0g Aowuaodos Luodeow. 

The few verses which remain without coming under one 
of these cases, originate either from a negligent treatment or 
from corruption. 

The tribrach can stand in every place. The older tragic 
poets, however, (before Olymp. 89) have it more rarely. 

The tribrach is allowed in the fifth place then only, when 
after its first short a caesura, though it be even a foot cae- 
sura, occurs, or if an vor ag precedes a short vowel, as 
Aesch. Prom. 52. Pers. 501. Eum. 580. 

y ren x A ~ a 
Ouzovr éxeiSer Seoua tHdE TEOIBadsiv. 
~ ~ \ 
LToUtTOS, MEO xOVvoTaALOMHYya Sia mOQOr. 
~ A AY 
Towavra perv TAS EGTIY GMpOTEOM EVEL. 
The dactyl occurs in the first and third places, as Soph. 
Aj. 846. Aesch. Suppl. 987. 
7 \ \ o , 
‘Hldie, maromav thy guny otav yWova, 
es es , 
Kai wiv addlatws Sogavet w0om Carav 
it is excluded from the fifth. 
The anapaest is properly allowed in the first place alone, 


and in the older tragic writers so that it forms one word, as 
Aesch. Prom. &9. 


~ a , 
Tlotupoy te myyal, movtioy TE xVUATOY. 
Euripides sometimes admits a foot caesura in the anapaest, 
as Orest. 898. 


Em c@de & yyogeve Api dys avak. 
In other places it is excused by such a proper name only as 
15 


170 IAMBIC STICHIC RHYTHMS. 


otherwise could not be introduced into the verse, as Soph. 
Ant. 11. 


Epot per odderg pwv9os, Aretyovn, pidoy. 
In proper names it was also admitted even where, by a 
transposition of the words, it might have been avoided, as 


Soph. Phil. 794. 

Ayadpewor, © Mevélas, nag ay avd éuod. 
The anapaest is often only apparent, as Eur. Orest. 459. 
Soph. Oed. Col. 1361. 

Anwioujy, Mevédae, Trvdcoens 08s. 

Tad, woneo av Fo cov qoréws peprnuevos, 
where Tvrdaoews per synizesin is to be read as trisyllabic, 
and govews as dissyllabic. 

It is not necessary that the trimeter should always close 
with a complete sentence, but verses ending with a word 
which belongs closely to the following, as an article, prepo- 
sition, Conjunction, interjection, are rare, as Soph. Ant. 409. 

Ilaoav nov oyourtes, 9 “aureize TOY 
Néxvy, nvSav te coma youvaourtes ev. 
Aesch. Eum., 238. 
ARR ceuBhov 7Sy, moostetomméevory TE 71008 
Adio oixoig xa mopetuacw Bootor. 


An apostrophized word stands as rarely at the end of a verse. 
This license occurs first in Soph. Oed. R. 29. 


¢€ ? ie ~ ~ ~ 
Ty ov xevovta Saud Kudusior, uéhas & 
PONS H.-C 5K. 
As an example of the tragic trimeter take Soph. Oed. R. 
1 sqq. 
‘ey r ~ 
2 réxva, Kadwov tov adda véa tTooGn, 
re PLN sd , IS 
Tivas no Soas tagds wo. Goucete 
¢c , G 
Lurjotorg xiadoiow eSeotemeror 5 
€ ~ \ 
Tlolig © omod per Ovurauacoy yéuet, 
€ ~ \ A A 
Ouov Sé maavor TE nat OTEVUYWATOY" 
c \ lod \ 2 baa). A , 
Ayo Sixawry uy mug ayyéov, Teva, 
4, 8 cs 
Ahiov axovew avtos 08 éyhvda, 


IAMBIC STICHIC RHYTHMS. A bra | 


¢€ ~ , 
O mact xdewog Otdimove xadovperos. 
S) > ‘af \ Pised- 5, \ , ” 
ALN, w yeome, Poul, Exel MOEMMY E*US 
TIoo tavde One zine TOON “ADEOTATE, 
id N 
Asicurtes, i otéoSartes 5 wg Okhovtos av 
, \ DI 
‘Euov moosugze wav. Svoadyntos yao ay 
+4 , / 
Egy tovdrds wy ov xatomteiowy ESoar. 


(8) The Satyric Trimeter. 


As the Satyrdrama stood between tragedy and comedy, 
so the satyric trimeter stood between the tragic and comic. 
The seriousness of tragedy is softened by more frequent 
resolutions and the admission of the anapaest in every place, 
though not frequent. In general the verse is altogether reg- 
ulated by the subject; it is more tragic in grave passages, 
and more comic in humorous ones. ‘Take as an example 


Eur. Cycl. 1 sqq. 

‘2 Boome, Sut o& wvoiove éEyo movovs 

~ PS: CO > + > UA } 
Nov yor &v ny tovuor evod sever Seuas* 
Tlow@rov per yvix éuparns “Hoas uno 
Nippas oostac &xdinwy wyov toogovs * 
a” 3) .3 4 ~ , 4 
Enea d age ynuyern wayyy Sooos 
EvdEug o@ modi magacmorys yeyos 
Eyzehador tréav peony Seveov Soge 
"Exrewe. peo ido, rove (Sov ovag hEyoo ; 
Ov wa AV, inet xa oxdd WeiEa Banyio. 


(vy) The Comic Trimeter. 


The greater flexibility and liveliness which characterize 
comedy, are indicated in the trimeter by frequent resolutions 
and by the admission of the anapaest. The tribrach is exclud- 
ed from the sixth place alone. The dactyl is permitted in 
the first, third, and fifth places, though in the last more rare- 
ly, as Arist. Av. 27. 

Ov Sewor ovr Ont éotiv judg Seouevove. 

The same rule which was stated above with regard to the 

tribrach in the tragic trimeter, applies to the tribrach and dac- 


tyl in the fifth place. Exceptions, however, occur, as Arist. 
Equit. 946. 


r/2 IAMBIC STICHIC RHYTHMS. 


\ Se Os \ , ~ U, 
sv 5,0 Haghayor, paczor gidety w éeoxogodioas. 
This anomaly was to be excused especially in proper names, 
as Arist. Pac. 1046. Acharn. 175. 
Marue tig eat. ov wa AV, adh Teooxd eng 
bp) , , c 
ALN iu AaxeSainovos yao ‘Augideos oot. 
The anapaest is admitted in every place, except the sixth, 
as Arist: Vesp. 979. 
ra nA , Us 
Karaga, vataga, zacapa, xarapa, xaraByoomet. 
The fifth foot may be a spondee even if severed by the cae- 
sura, as Arist. Nub. 738. 
5 , , AN) ad? 
Axizous mvotazts ayo Povdowae. 
The comic poets seem to have admitted, by a peculiar 


license even the proceleusimatic in the first two dipodies, 
although rarely, as Arist. Plut. LOLL. 


7 , nN \ , c 
Nytruguy uv zat pattvoy vmexogileto 
Plat. in Schol. ad ur. Hec. 838. 
©. , , , ~ > ~ 

Ouzog tig Et 3 eye TUyV. TL OAS 3 OH EDEIS ; 
perhaps also Arist. Thesm. 285. 

ryy f o fe , ~ ~ 

To momuvor, omms Lasovoa Dvow taiv Keaiy. 

An anapaest follows a tribrach then only, when the two feet 
are separated by the diaeresis, as Arist. Ach. 47. Nub. 663. 
> a , c \ > , > 
ALN wduvatos* 0 yao AuptSeog Ajwjteos yy. 

> \ > \ \ \ yr 
ALEZTQVOVE, HUTU, THUTO ZEE TOY UOOEVE. 
An anapaest is not allowed to follow a dactyl, because 


according to trochaic measurement the rhythm would contain 
a proceleusmatic, which is not allowed in trochees: 


Vv 





vow S 


Finally, if the fourth foot is an anapaest, a foot caesura 
is avoided in its first short, because the verse in that case 
would be divided into two rhythms joined arrhythmically : 

pat mee fi Sif. 
The caesura is, however, less offensive : 

(1) When the first syllable of the anapaest is a monosylla- 
ble closely belonging to the following word, as Arist. Eccl. 
104. 


IAMBIC STICHIC RHYTHMS. Lio 


Novi © ogas, mparcer ta weyiot ev TH mode. 
(2) If an apostrophe occurs after the first syllable of the 
anapaest, as Arist. Nub. 70. 
‘Romeo Meyaxdéng, Svori® yor: &ya 8 Eqyy. 
ig 
(3) If a caesura, usually the zevOyumueons, precedes, as 
Arist. Ran. 658. 
Ti to modyua tovti; Seveo mahw Badioréor. 
(4) At a change of persons, as Arist. Vesp. 1369. 
Tov Evunorar xiewarta; D. noiuy avdyroid« ; 
(5) If the anapaest is preceded by another anapaest, as 
Arist. Pac. 415. 
K \ ~ we ? Calg barr ui rn 
cl TOV xUxLOV TULETOWYOY VP aomMatohias. 
As an example of the comic trimeter take Arist. Nub. 
1 sqq. 
°Q Zev Backed, TO yonua THY LUXTOY Ooo” 
Anésourtov. ovdétoP nugon yEevyncEteat 3 
Kei wyy mado y adextovovos nuove eyo 
a ipa sob NTI 
le aa , 5) > > y \ ~ 
Ot & omerat Gsyxovow* adh ove cv m0 TOV. 
Anohow Sit, © modEuE, MOLLOY OvvEXce, 
vj > 2 ol bo, he , \ Lee 
Or ovde xohao ESEoTt mot TOYS OtKETES. 
AA 0v8 0 yonotos ovtosci veaviag 
Jord 7, ~ A 5 A - 
Eysigetas tug vextos, ahha meodetct 
Ey mévte coves éynexogdvanuevos. 


(6) The Trimeter of the Roman Dramatists. 


The older Roman dramatists and the fable-writer Phae- 
drus treated the trimeter, which they called senarius after 
the number of its feet, with as great freedom as the trochaic 
rhythms, mentioned above. They allowed the licenses, per- 
mitted by the Greeks in the odd places only, in the even 
places also, with the exception of the sixth. They have also, 
though seldom, the proceleusmatic, and so indeed that it 
was concealed by the pronunciation, as Terent. Eun. I. 2. 
le. Vie. One 


Samia mihi mater fuit, ea habitabat Rhodi. 
Ut solidum parerem hoc mi beneficium, Chaérea. 


The pure iamb, the tribrach and dactyl are rare in the fifth 


foot. 
15* 


174 IAMBIC STICHIC RHYTHMS. 


The caesuras are frequently neglected. 
The hiatus occurs frequently in Plautus in the zerOnurpe- 
ons, as Mil. IV. 8. 42. 
Nam quos videre — ¢xoptabam maxime. 
It is not rare after the short of the fifth foot, as Asin. IV. 1. 
15, 46. 
In foribus scribat, occupatam — esse se. 
Tollam. quidni? audi reliqua. loquere — atdio. 


Finally Plautus allows himself the hiatus in other places: 
when the persons change, as Curc. I. 1. 41. 
Obloquere. PA. fiat maxime. PH. etiam taces ? 
after a strong punctuation, as Cure. I. 1. 46. 
Eam volt meretricem ficere: ea me déperit; 
or in an exclamation, as Aul. II. 8. 22. Merc. II. 2. 13. 
Peri, hercle ! —aurum rapitur, aula quaéritur. 
Salve !—o quid agis? quid fit! quod mis¢rrimus ; 


and perhaps in proper names, as Asin. IV. 1. 59. 
Ancillam ferre Veneri — aut Cupidini. 

It is to be mentioned as a peculiarity of the older Roman 
poets that, because they endeavored as far as possible to 
adapt the verse-accent to the word, they often passed lightly 
over long syllables of those words which in meaning are 
subordinate to others, or over syllables long by position, or 
over syllables naturally long and following a 1 short, as if they 
were short, and this they did vacua at the beginning 
of words, as Terent. Andr. I. 1. 16. 

Sed hoc mihi molestumst : nam istaee commemoriatio. 
Andr. II. 6. 8. 
Propter hospitai hujlsce consuetidinem. 


Eun. III. 1. 40. 


Dolet dictum imprudenti ddulescenti et libero. 
Plaut,. Mil. HY, 1.53: 


Dedi mercatori, qui ad illum déferat. 


As an example of the tragic trimeter among the Romans 
take the beginning of the Medea of Ennius: 

Utinam ne in nemore Pélio securibus 

Caesa accidisset abiegna ad terraim trabes, 

Neve inde navis inchoandae exordium 

Cepisset, quae nunc nominatur nomine 


IAMBIC STICHIC RHYTHMS. Tio 


Argo, qua vecti Argivi delecti viri 
Petébant illam péllem inauratam arietis 
Colchis, imperio regis Peliae, per dolum; 
Nam ninquam-hera errans méa domo efferrét pedem 
Medéa, animo aegra, amore saevo satcia. 
As an example of the comic trimeter take Plaut. Mil. I. 1. 
1 sqq. 
Curate, ut splendor meo sit clupeo clarior, 
Quam solis radii esse dlim, quum sudiimst, solent ; 
Ut, ubi usus veniat, contra conserta manu 
Praestringat oculorum aciem in acie-hdstibus. 
Nam ego hine machaeram mihi consolari volo, 
Ne lamentetur néve animum despondeat, 
Quia sé jampridem fériatam géstitem, 
Quae misere gestit farctum facere ex hdstibus, 


The trimeters of Seneca are formed after the model of the 
Greek ; he is fond, however, of the anapaest, especially in the 
first and fifth places. 


—_—~S —_— Ss —_/;yor 


Gye hea 


Die lame Trimeter.—Trimetcr claudus, scazon, Hipponac- 
teus, Choliambus, Mimiambus. 


The lame trimeter is a satiric verse, which among the 
Greeks was used especially by Hipponax, Ananius, Babrius, 
Theocritus (Epigr. XXI), and by the comic poet Eupolis; 
among the Romans by Catullus and Martial. It differs from 
the common trimeter by the inversion of the last foot. Reso- 
lutions are rare. The fifth and sixth were probably never 
resolved, although Prisc. de metr. Comic. p. 1327, quotes 
a verse of Hipponax, in which the fourth and fifth feet are 
dactyls. 

Eogo yao ovtw, Kuidjne Maadog Eouy. 
The fourth foot was very rarely resolved, as Phoenix Coloph. 
in Athen. XII. p. 530. E. 
Ov mupk madyowct mvQ (sQOY aVEoTHCEY. 
Babrius allowed the anapaest in the first place only, and 
among the Romans Martial, as I. 67. 2, 13. 


Fieri poetam posse qui putas tanti. 
Aliena quisquis recitat et quaerit famam. 


176 IAMBIC STICHIC RHYTHMS. 


The spondee is rare in the fifth foot, because it makes the 
verse awkward: Catullus, who uses this measure eight times 
in his poems (Carm. VIII, XXII, XX XI, XX XVII, XX XIX, 
XLIV, LIX, LX.) has it not, Martial sometimes. In Catul- 
lus only four resolutions of longs occur XXII, 19. XXX VU, 
&, Ll: LIX, S. 

Quem non in aliqua re videre Suffenum, 

Confutuere et putare ceteros hircos. 

Puella nam, me quae meo sinu fugit. 

Vidistis ipso rapere de rogo coenam. 


The caesuras are those common in the trimeter. As ex- 
amples take Hippon. in Stob. LX VIII. p. 279 ed. Grot. 
AV jusous yoratnos sioty 7Sv0ctae* 
‘Orar yay tis, naxpeon TEPvyxvias. 
Hippon. in Stob. p. 519. Gesn. or Anan. in Athen. III. p. 
78. F. 
Ei ug zadeiose youoor év Somos 20207, 
Kai cbua Bac, not dV 7 tosis av Qanovs, 
Tvoty x 00@ te Gdxu TOV yoUGOU xpéoCu. 
Mart. Epigr. II. 65. 
Cur tristiorem cernimus Salejanum ? 
An causa levis est? extuli, inquis, uxorem. 
O grande fati crimen! o gravem casum! 
Ila, illa dives mortua est Secundilla, 
Centena decies quae tibi dedit dotis ? 
Nollem accidisset hoc tibi, Salejane. 


aed ets Lye 4 alin 


Tetrameter acatalectus. 
Versus Boiscius, octonarius. 
According to Mar. Victor. p. 2528, Boiscus of Cyzicus 
5 ape i] 
invented it: 
sh ¢ > ~ si ld r 
Boiozos 0 ano Kulixov, martos yoapevs mouuatos, 
Tov oxtamovy evowr ozizov Mois ridryot Sooor. 
, Q j é ; / Q 
The Romans used it in the drama by the line with the 


usual liberties. ‘The spondee and the trisyllabic feet are every 
where allowed; the last iamb alone is preserved pure. 


IAMBIC STICHIC RHYTHMS. 177 


The verse has either the diaeresis after the second dipody, 
and Piautus uses it commonly so, often allowing himself the 
hiatus and anceps in the diaeresis, as Bacch. IV. 9. 9. Poen. 
TV. 13: 

O Troja, o patria, o Pergamum —o Priame periisti senex. 
Is me aiitem porro verberat incursat pugnis calcibus ; 


or the caesura after the first thesis of the third dipody, as 
usually in ‘Terence, as Andr. LI. 4. 22. 
Nihil ést preci loci relictum; jam perturbavi omnia. 
If the verse has the diaeresis, the second foot of the second 
dipody is commonly pure. 
As an example of this measure take Terent. Eun. I. 3. 
2—O. 
Neque virgo est usquam, neque ego, quiillam e conspectu amisi meo. 
Ubi quasram, ubi investigem, quem perconter, qua insistam via, 
Incértus sum. una haec spés est, ubi ubi est, dit celari non potest. 
O ficiem pulchram: déeleo omnis dehine ex animo mulieres ; 
Taedet cotidiinarum harum formarum.— Ecce autem alterum. 


oa sl, ead, sf, 


(Pee et oee were ery 


Tetrameter tambicus catalecticus. 
Versus septenarius. 

As the first thesis in the fourth dipody never admits a long, 
the verse appears to be not so much an iambic tetrameter, 
as an iambic dimeter with a catalectic tetrapody. 

As a lyric verse it occurs in the flower-song, preserved by 
Athenaeus, in which the second iamb appears always as 
tribrach: 

~ ACaeay ~ Nur, ~ \ \ y 
ITov jou ra ta; mov wot ta Goda; mov mor Ta “aha GEhive ; 
Tudi tie ia* tudi ta 668a* TAS TH “OLA GFluIVE. 

Catullus among the Romans has used this verse, Carm. 
XXV. He observes strictly the diaeresis after the dimeter, 
and admits the spondee in the first and fifth foot only. 

The comic poets used this verse most frequently. The 
principal diaeresis is after the dimeter, which, however, 1s 
frequently neglected, as Arist. Nub. 1353. 

Kui wiv oder ye meorov 7oSauecOa LowWogeta Fas. 

The tribrach is everywhere allowed except in the seventh 

foot ; it is more rare in the fourth foot, as Arist. Nub. 1068. 


178 IAMBIC STICHIC RHYTHMS. 


~ td ~ J ~ A 

TToiio0ig* 0 your LIjhevs eLape Sia tovro riy mayaoar. 
The dactyl occurs in the first, third and fifth feet, as Arist. 
Equit. 894, 900, 857. 

Pai | r, 

Kai mooregov éxepovdevad cou: tov xavhov oioP éxeivov. 

>) i) > tg ~ 5) 5 

Ov yao TOP busts BSsousros Simov 'yévecde augdot. 

~ da , N\ € ~ 

Tas etoBolas tov digizor ay xarahcBory jucr. 

The anapaest is everywhere allowed; in the fourth and 
seventh feet, however, principally in proper names only, as 
Arist. Ran. 912. Thesmoph. 547. 

b) v us 

Ayidéa ti i Nw8yr, to mpdcwmor ovyt Setvve. 

Eyeveto Melavinaas nowy DaiSoas te HIyvedonny te. 

As an example of the catalectic tetrameter take Arist. 
Nub. 1036 sqq. 

mek \ , Bin 2) , \ , ] , 
Kai wyy nade y enrvyvouny ta onlayyra, xamedvpovr 
ao ~ 
Anuryta Tat Evarrtios yramator ovvtagcsc. 
> \ \ a \ Lh >, > \ aD), 3 if 
Eyo yuo yttmy wsv Loyos dt avto0 tout &xdyOny 
b) ~ ~ qa 
Ev roiot poortiaraiow, ott MOWTLGTOS EMEVONGE 
) / 
\ ~ \ ~ 
Kai rots vopos zai cais Sixag cavarel avtidresae. 
an | ~ ah s y > ST Ge 
Kui rovto mheiy 7 veiw tot &Sov oratiowy, 
C4 ‘2 a , J ~ 
Aipovpevor tovs ytzovas hoyous Eneita Vinay. 
Cou i i 
Se ‘ \ i Kg , : C399 0 & 
Snewee Oe tyy maidevow y méemorOev ws &heySoo. 
ao ~ ~ ~ > ee 
Oozs ce Deoqum pyst Loved at mowtoy ove sacew. 
Katto tive yrouyy yor weyers ta Peoua Lovie ; 
The Roman dramatists, also, used the catalectic tetrame- 
’ P) 
ter very frequently; the Atellan poets in particular are said 
to have delighted in it. They observe the diaeresis after the 
dimeter more strictly than the Greeks. Plautus treats the 
verse as asynartete, allowing himself in the diaeresis the hia- 
tus and anceps, as Plaut. Asin. II. 3. 61, 62. 
Sed si tibi viginti minae-argénti proferintur, 
Quo nos vocabis ndmine ? — libértos, non patrénos. 


Some few examples occur in Terence, too, as Hecyr. V. 1. 
15; 3. 32. 

Est magna ecastor gratia — de istic re quam tibi habeam. 

Eum cognovit Myrrhina — in digito nodo me habéntem. 


According to the usual licenses the Romans put the spon- 


IAMBIC STICHIC RHYTHMS. 179 


dee in the even places, too; it is, however, less frequent in 
the fourth foot, and is usually concealed by the pronuncia- 
tion. The spondee may stand even here, if the verse have 
not the diaeresis. ‘The same observation applies to the ana- 
paest which in the fourth place is harsh, if the verse has the 
diaeresis, yet occurs also softened, Asin. III. 2. 36. 


Nimis a¢gre risum continui — ubi hospitem inclamavit. 
The dacty] is rare in the fourth foot, as Plaut. Cure. IV. 
2.7. Terent. Hec. V. 3. 34. 


Et nine idem dico.— Et commeminisse hace ego volim te. 
Philaumenam esse compressam ab ea, et filium inde hune natum. 


In the seventh foot, besides the 1amb, there may stand, 
(1) The spondee, as Terent. Eun. II. 2. 31. 


Ut sibi liceret discere id de mé, sectari jissi ; 
(2) ‘The tribrach, as Ter. Eun. II. 2. 41. 


Numquidnam hic quod nolis vides? te erédo, at numquid 
aliud ? 
(3) The dactyl, as Eun. I. 2. 49. 


Detineo te, fortasse tu proféctus alio fleras ; 


(4) The anapaest, in such a way that there is no foot 
caesura in the first syllable, as Terent. Heaut. IV. 4. 17. 
Adelph. IV. 5. 78. 


Quid? transeundum nunc tibi ad Mened¢mum est et tua pompa; 
Sed césso ire intro, n¢ morae meis niptiis egomeét sim; 


(5) The proceleusmatic, which however is more rare, as 
Plaut. Most. I. 3. 18. 


Ergo héc ob verbum te, Scapha, donabo égo profecto hedie aliqui. 
As an example take Plaut. Rud. II. 1. 1 sqq. 


Omnibus modis, qui patiperes sunt homines, miseri vivunt, 
Praesértim quibus nec quacéstus est, nec didicerunt artem Ulam. 
Necéssitate, quidquid est domi, id sat est habéndum. 

Nos, jam de ornatu propemodum, ut locuplé¢tes simus, scitis. 
Hice hami atque haece hartndines sunt nobis quaestu et ciltu. 
Cotidie ex urbe dad mare huc prodimus pabulitum. 

Pro exércitu gymnastico et palaéstrico, hoc habemus, 

Echinos, lepadas, déstreas, balanés captamus, cénchas, 

Marinam urticam, miisculos, plactsias stridtas. 

Post id piscatum hamatilem et saxatilem aggredimur, 


180 IAMBIC STICHIC RHYTHMS. 


Cibtm captamus ¢ mari. Sin éventus non vénit, 

Neque quidquam captum est piscium, salsi lautique ptire 

Domitm redimus clanculum, dormimus incoeniti. 

Atque ut nune valide fluctuat mare, nilla nobis spés est. 

Nisi quid concharum capsimus, coendti sumus profécto. 

Nune Venerem hane veneremtr bonam, ut nos lépide adjurit 
hodie, 


— / _— 


(8) v-v-v-> 
Tetrapodia iambica catalectica. 


Many of the Anacreontic poems, so called, seem to be of 
this rhythm, since in them the anacrusis appears only as 
monosyllabic. ‘The greater part of them may be arranged 
in strophes, as Carm. IX («” Mehth.), X («), XV (¢), XVII 
(7), XX (x8), XXIII (20), XXXII (7), XX XU (xe), LV 
(xs't), LXV («@); others are composed only by the line, I 
(uy), Al Ged), XE (6), KEIN XIV (8), AVE (ee), KIX 
(x), XXXII (wy), XL (Ay), LIX (e), and in part XXVI 
(us’). ‘Theocr. Idyll. XXX. In poems of the later period 
only, as Fragm. II (vf), the spondee occurs for the iamb. 
The resolution of the arsis also is avoided. ‘I'he verse has 
not a fixed caesura on account of its shortness. As an ex- 
ample take Anacr. Carm. I. 

Odo eye “ArpetSas, 
Ogio b& Kadpor cSew. 
‘A Paopitogs dé yoodaig 
"Eowta movvor 7760. 
“TMnenpa vevod 200ny 
Kui cir voy anacar, 
Kayo nev 4 Sov @920v8 
Houzdgovs- hvoy Oé 
"Eowtas urrepavet. 
Xaloowe Lowzov quir 
“Towes* 7 200n yao 
Movovg “Eowtas bet 

Among the Romans, Seneca has this rhythm in his tra- 
gedies, as Med. 848 sq. He also admits the dissyllabic ana- 
crusis, and hence the verses might be regarded as Anacre- 


ontics: 


DACTYLIC STICHIC VERSES. 181 


Quonam cruenta Maenas 
Praeceps amore saevo 
Rapitur ? quod impotenti 
Facinus parat furore ? 
Vultus citatus ira 

Riget et caput feroci 
Quatiens superba motu 
Regi minatur ultro. 


(9) «ese 4 eevee 


Two iambic catalectic tetrapodies, antipathically combined. 
Callim. Epigr. XX XIX. 
‘O Avutwg Mevottasg ta tka tavr enema 
"Edyue. Th xeoas tor diScome xa pagezony 
Laoum, tovs 8 oiorovs éyovow Eonegiza. 


I]. Verszs or THE DacTYLIc-ANAPAESTIC KIND, USED BY 
THE LINE. 


A. Dacty lie. Verges, 


(a) Rational Dactyls. 


(1) =~»=~ 
Dimeter cat. in disyll.— Versus Adonius. 


According to Terent. Maur. p. 2431, Sappho used it by 
the line. As an example he gives the following imitation : 


Primus ab oris 
Troius heros, 
Perdita flammis 
Pergama linquens, 
Exul in altum 
Vela resolvit : 
Saepe repulsus 
Ausone terra, 
Moenia fessis 
Sera locavit ; 


16 


182 DACTYLIC STICHIC VERSES 


Unde Latinum 
Post genus ortum 
Altaque magnae 
Moenia Romae. 


4 olen = 


Metrum encomiologicum. 


It consists of a trimet. dact. cat. in disyl. and a monom. 
troch. acat. It is classed by Hephaestion among the asyn- 
artete verses. As an example he cites from Alcaeus: 

eG 9) ~ se 
HT @ &tt Avousran to Tvedazn@ 
ay \ > a 
Taouere Lapmpn near ey wvoow7e* 
and from Anacreon, who is said to have used this metre in 
several of his songs: 


Oocbdon0g pev "Aone gidge pevatynar. 


_- / — —_— / _ 


(3) Eo Ee eR a a rn ee AO EE CY gee) 
Metrum prosodiacum. 


It consists of a trimet. dact. cat. in disyll. cum anacrus. 
with an ithyphallic following. It was used by Archilochus, 
and after him, the comic writers Eupolis, Aristophanes 
(Vesp. 1528 sqqy.), Eubulus, Diphilus, Cratinus and Phryn- 
ichus, employed the verse. 

Hephaestion classes this verse likewise with the asynartete. 

Archilochus always had the diaeresis after the dactylic 
rhythm, as, 

Eoacpovridn Xaoihae, youd vor yedoior. 


The comic poets often neglected it, and instead had the 
caesura after the arsis of the third dactyl, as Cratinus im 
Athen. VIII. p. 344. F. 

Pros Svvaras gieyvon Seinvov ior aneloye. 
Bovue yao anay tO magor, toiyhy O& xEY WayolTO. 

Archilochus allowed himself the spondee for the first dac- 
tyl, as, 

"Actay & of wey xaromoder nour ot Sé modo. 


DACTYLIC STICHIC VERSES. 183 


The pyrrhic for the anacrusis is only apparent : 
Eogo, mohv Gihtad Eraiowr, téowect 0 axovor. 
\ 
Didgew orvyvor mep eovta, uyde OvacdeyecO aa, 


for go¢@ and gidgew are to be read as dissyllables. 


, =F 


(4) A Dig Jae en Pe Lis 


Metrum Choerileum. 


It consists of a trimet. dact. cat. in disyll. and a trimet. 
cat. in syll. Choerilus used the verse in his satyrdramas, 
and in such a manner as to keep the thesis of the third foot 
always long and in a monosyllabic word, as, 


"Hy yoovos, @ Pactheds Wy Xoipihog &v Satvoors. 
Antiphanes in Athen. XI. p. 471. C. 

Tis tovgevas ano AéoBov ceuvonotov orayovos 

TThivoes, epotfor, exactog Sekireoa 0 ea Bev. 


(5) -ve eee nee ns 
Tetrameter dact. cat. in disyll. 


According to Hephaestion used by Archilochus, by the 
line: 
‘Adupeleo yaoiscoa yedwot. 


2 % 
(6) Pen ISRO © ae tat eee SR OI, ae a Op eS od en) 


Tctramcter dact. cat. in disyll. with an ithyphallic following. 


A metre used by Cratinus, the comic poet, which Hephaes- 
tion classes with the asynartete verses. As an example he 
cites : 


ES 4 
Xuaipste, mavreg Deol, moAWBwtov mortiay Léoupor. 


t — 


(7) ee ee Oe ee Yee Ve 


Versus heroicus. 


The heroic or epic hexameter, hexameter dact. cat. in 
disyll., is the most ancient and most common verse of the 


184 DACTYLIC STICHIC VERSES. 


Greeks. Fable ascribes the invention of it to a certain 
Phemonoe, a Delphian priestess; and in fact, it was the 
sacred verse in which the oracles were uttered. It is pre- 
éminently suited to repetition by the line, because the indeter- 
minateness of the series, the variety of the caesuras and 
diaereses, and the alternation of spondees and dactyls, made 
it possible to express by it the most various degrees of feeling 
in an appropriate manner. 

We treat first of the caesuras and diaereses of the hex- 
ameter. 

The hexameter is a dactylic rhythm, consisting of inde- 
terminate series, whose beginning and end are marked by 
diaereses and caesuras. 

If the rhythm is divided into two series, either a shorter — 
precedes a longer, as a sort of prodde, or a shorter follows 
a longer, as an epode, or both are equal. Hence we have 
the following principal caesuras and principal diaereses: 

/ / =e 
mvvnvy,—|vvnveney—~ caesura wer Oqummsons. 
Z v2 = 


S ih ~ 
—Vv ayy mul muy vy my CaeSULa XKTK TOITOY TOOYALOY. 


, , ae 
vv nvvavy,—|vv—ve—~ caesura epdyumeoys. 

, , an 
vv avenevayyavene~ rezoumodia Bovzohiniy. 

The diaereses which here fall in the thesis, are wanting in 
strength; hence, in general, they are more rare at the begin- 
ning, more frequent togegher with feminine caesuras towards 
the “end, because the whole rhythm delights in the dactylic 
fall from stronger to weaker. 

Among all the caesuras the mEvOnUMEOnS is the most com- 
mon; the punctuation also commonly falls upon it, as, 

Arma virumque cano, Trojae qui primus ab oris. 
a he apostrophe does not coe it, as Hom. Odyss. I. 125. 
‘Qs etxoy yet, 7 8 ecmero Tladhag *AOyvy. 
It has before all others, the power of prolonging a short syl- 
lable that stands in it, and of permitting the hiatus, as Hom. 
Heo Veso9. Vare lec. X.. 695 el Vil. &: 
Dide nactyryts, xouicai té pe, SOG SE joe tzz00g. 
Omnia vincit amor, et nos cedamus amor, 
Stant et juniperi et castaneae hirsutae. 


DACTYLIC STICHIC VERSES. 185 


The caesura after the third trochee, xaza reitoy rgozaior, 
has less power, as Hom. II. I. 5. Virg. Ecl. I. 6. 
| Otcvroist te maou Avg 8 étedelero Bovdy. 
O crudelis Alexi, nihil mea carmina curas. 
When a verse has this as a principal caesura, the next 
following foot caesura is usually masculine. 


Sometimes, especially in an interpunction, a hiatus is 
found, as Hom. Odyss. I. 112. Virg. Ecl. IL 53. 


Nikov nat mootiderto, (88 x08e modde Surevrto. 
Addam cerea pruna, honos erit huic quoque pomo. 

The end of the first series may also be denoted by the 
diaeresis after the second dactyl. This, however, takes 
place more rarely, particularly among the Greeks, because, 
as has been remarked above, the verse delights in caesuras 
at the beginning. In Virgil, this diaeresis is not uncommon, 
as Acne EEG 


Hic currus fuit, hoc regnum dea gentibus esse. 
It is commonly followed by a monosyllabic word, so that 
the zevdnuimeons then at least is a foot caesura. : 
The épOyumeons is more rare than the werOnummeons. 


Commonly a foot caesura after the arsis of the second dactyl 
precedes it: 


Avoyevig Aucotiady, mohvpnyar “Odvoced. 
Insignem pietate virum, tot adire labores. 

‘The caesura after the fourth trochee, which also, though 
in a feeble manner, marks the end of the series after the 
third dactyl, is a foot caesura but seldom, as Hom. II. TX. 394. 

TIjdevg Oyy woe erecta yuvaina yopeooetce avtos. 
It is often only apparent, namely, when the word following 


it is monosyllabic, and belongs closely to the preceding, as 
Hom. Il. XXII. 116. 


A z) , Sf 
Tloiia 8 cvarta, xaerarra, mapavta te, Soyuie T 720-07, 
or the émOyummeons precedes, as Hom. I]. I. 33. 
a) 5) z) \ 
Ro éqar: Wdewer © 6 yeowr, nat exeidero WOO. 


The Romans avoided this caesura less; Ovid even used it 
often, as Met. I. 342. 


Kt quibus est undis audita, coercuit omnes. 
The diaeresis also after the third dactyl divides the verse 
16* 


186 DACTYLIC STICHIC VERSES. 


into two series of three feet; it is, however, more rarely 
found, because, as the connecting link is wanting, the two 
series fall apart, as Hom. Il. I. 53. Virg. Aen. I. 145. 


4 Fy wes \ Ds SN ; \ ) ay - rh oO ~ 
VINULO MEV EVE OTOATOY (yETO uyAG OE0iI0. 
His lacrimis vitam damus, et miserescimus ultro. 

Such a verse is commonly softened by the circumstance 
that either the diaeresis is preceded by the zerdnumeore, 
though only a foot one, or followed by a monosyllabic word, 

. ¢ / ° . . . 
by which a foot epOyummeoys is produced. But if neither is 
the case, the hexameter is entirely objectionable, like the 
verse of Ennius: 

Poeni pervortentes omnia circumcursant. 

The zezoamod/u Bovzohtzy or the diaeresis after the fourth 
foot lends the verse a certain effeminacy, on which account 
it was used by the Greeks chiefly in elegiac poetry (Simoni- 
des) and bucolic (Theocritus). With this diaeresis, Theo- 
critus delights in a dactyl for the fourth foot, and the short- 
ening of its last syllable by the hiatus, as Id. I. 1. 2. 

ASE TH 70 WiOVOIGUG “UL & MitVs, aim02E, THY, 

“A moti tais mayuior pedicdeta’ adv S& xa TV. 
Virgil did not follow his model, 'Theocritus, in this, since in 
his Eclogues this diaeresis by no means prevails. 

This diaeresis, however, occurs also frequently in the epic 
poets, as Hom. Il. I. 44. IV. 88. 

By 88 uarv Ovdoyror xaojvor, yoouerog x70. 
TlarSagov arrideor Sifnueyy, et mov épevoo. 

The poets sometimes have the hiatus in this diaeresis, as 
Hom. Odyss. I. 60. 

‘Evroénerae pidov 7700, Odie! ov vb ¢ “Odvacers, 
and, though very seldom, the trochee for the spondee in the 
fourth foot, as Hom. Il. XI. 36. Enn. Annal. I. 

Ty 8 éat piv Doyo phocveame éoteparoto. 
Omnis cura viris, uter esset endoperator. 
The Roman epic poets of the Augustan and later periods, 


avoid ending the verse in such a way as to contain the 
Adonius in one word, as Lucr. I. 3. 


Quae mare navigerum, quae terras frugiferentes. 


DACTYLIC STICHIC VERSES. 187 


Proper names, however, excused it, as Virg. Aen. I. 72. 
Ecl. VIII. 1. 


Quarum, quae forma pulcherrima, Deiopeam. 
Pastorum Musam Damonis et Alphesiboei. 


The caesura after the long of the fifth dactyl gives the 
same division of series, as the bucolic tetrapody; but it lends 
the verse at the end an unsuitable energy, and hence is only 
a foot cacsura in the better poets, where it occurs, as Hom. 
iG: 

EE ov bn ta mOMTH SiaOTHTTHY EvioarTE. 
Ennius sometimes used this caesura not without effect : 


Nam me visus homo pulcher per amoena salicta 
Et ripas raptare locosque novos; ita sola 

Post illa, germana soror, errare videbar, 
Tardaque vestigare et quaerere te, neque posse 
Corde capessere ; semita nulla pedem stabilibat. 


The caesura after the fifth trochee, which would equally 
give this division of series, is usually only a foot one and is 
without emphasis, as Hom. II. I. 75. 


Mivw “Anodiovog suatnBelérao avaxtos. 
Besides the principal diaereses and caesuras already treated 
of, and their substitutes, there are the following : 
/ _ 
/ _— 


tS ae ah ES 


/ , c= 

—vvyoe [vv evy eevee 
? 

/ / i= 
ae YY mv [vay eee new ne 
, I— 
a ce the een YF 

/ fj — 


=e atte ew trey ills 


The caesura after the first arsis has no influence on the 
division of series; it only serves to render a word more em- 
phatic, as Hom. H. I. 52. Virg. Aen. II. 265. 


188 DACTYLIC STICHIC VERSES. 


\) 2 “ 
Avrag inet avroiot Bélog éyenevues equate, 
Baah+ ast 88 nvgul x. t. 2. 
Di, prohibete minas, di, talem avertite casum. 
The first feminine caesura is not emphatic, as Hom. II. I. 365. 
Oloda: tin to tavT eidvin mart KyooEvo. 
The diaeresis after the first foot changes the division of series, 
but makes no strong impression, as Hom. II. I. 511. 
oP ) 
SO a aA 2 NF o rad , 2: , VA iA 
2g gato’ tyyv 8 ovr moeosegy vepehnyeoeta Zevs. 
Sometimes the hiatus occurs in it, as Hom. Il. I. 39. 
Spe! einord tor yaoiert emi vyov Eoewa. 

The caesura after the second arsis strongly marks the end 
of the series after the first foot, as Hom. I. I. 2. Virg. Aen. 
I. 4. 

Ovdoueryr, i uve “Ayaois dhye EOnx8. 
Vi superum, saevae memorem Junonis ob iram. 


The second feminine caesura does the same, but with less 
force, as Il. 1V. 164. 


” Si e > eee) , y , 
Eooeta juno, otav mot ohwdy “Tdt0g ton. 


The diaeresis after the fifth dactyl in the Greek writers is 
only a foot one. In the Roman, it is also found as a princi- 
pal caesura, and in that case they are fond of closing the 
hexameter with two monosyllabic words, as Virg. Ecl. VII. 
30. 


Nunc te marmoreum pro tempore fecimus; at tu. 
The verse is not so good, when the second monosyllable 
has a stronger accent, compared with the first : 
Nosciter ex socio, qui non cognoscitur ex se. 


By the caesura after the sixth arsis, the monosyllable which 
closes the hexameter, especially if preceded by a polysyllable, 
best, if a word of four syllables (choriamb), acquires a particu- 
lar force, which generally produces a comic effect, as in the 
well known verses of Horace, Epist. II. 3. 139. 

Parturiunt montes, nascetur ridiculus mus ; 


Virg. Georg. I. 181. 


Tum variae illudant pestes, saepe exiguus mus ; 


but sometimes also, paints appropriately the great, the mon- 
strous, as Hom. Odyss. VIII. 69. Dionys. Perieg. 759. Virg. 
Aen. II. 250. I. 105. 


DACTYLIC STICHIC VERSES. 189 


= ¢ ~ A , > , > 

Taiav onov ua mortor* cows. & ovgavoder vv8. 
-E ‘ ot O€ SvVGKVEMOR EXTE Say 

LOYATLES MWEOL OE OGit OVONVEMOS EXTETUTAL YU OY. 
Vertitur interea coelum et ruit oceano nox. 

Dat latus, insequitur cumulo praeruptus aquae mons. 


The hexameter is not always to be divided into two series, 
but it very often consists even of three. ‘The verse is most 
complete in its character and most in harmony with the 
equality of the dactylic rhythm, when each series has a like 
number of feet: 


\ 
/ We he — 


If, however, the series were divided. by diaereses, the re- 
sult would be a wearisome uniformity: hence in good poets 
such verses are rare, as Hom. Il. I. 78. Horat. Sat. I. 4. 4. 


Ss \ a4 s 4 A a “2 z 
HT yao oiopot, arden yohwmosusr, og meya mavtoy. 
Quod moechus forct, aut sicarius, aut alioquin. 


The beginning of the second series is better marked by 
the caesura, which may be either the zevOnumeoys, or that 
nutc ToITOY Tooyaioy and the end of the second series by the 
diaeresis : 

/ / 7 — 


eee NT ENA cee CII meee INP es OCHS rns RIND eee OP 
> 


/ , - — 


cat NPN ees NP RDN raceme AN Ad NG reed NN reas INP ENI ceeP 
? 


as. Hom. Il. 1.94. Virg: Eel. 11. 1. 


‘Orovvove tevat, MAws ayyshog* ot & ayéoorto. 
Dic mihi, Damoeta, cujum pecus, an Meliboeti. 


Hom. Il. I. 185. Virg. Eel. III. 3. 


Den SN , A \ , ” Se ge 
Avtos toy zhiainvds, T0 cov yeous* ogo ev Edy. 
Infelix o semper, oves, pecus! ipse Neaeram, 


The division of rhythms is frequently also the following: 


V4 / / = 


ae MM VV eV ev YY ev ee 
> 3 


The end of the first series is marked by the diaeresis, or 
more frequently the beginning of the second by the caesura 
after the second arsis or the second trochee, and the end of 
the second series by the diaeresis: 


190 DACTYLIC STICHIC VERSES. 


(/ A / 
EN mer ma a Ie 
/ / 7 — 
—ve, alee rey nveloyene 
? 
/ / / — 


ee 
’ 


Hom. Il. I. 188, 133, 356. 
"Qg aro: IIjhelan & &yos ever év 8€ ot 7t00. 
"H 2G2heig: ope avros eis yéous, avtag Ew adros, 
Hcivjoev* Lov yao eet yEous, aVTOS aTOVE.AS. 
_ The series are not unfrequently divided also in the follow- 
ing way: 


/ / ig aad 


_— VY ood hast ee soci agitate fia 


) 
as Virg. Aen. I. 2. 
Italiam, fato profugus, Lavinia venit. 

In general, the variety is very great herein and we shall be 
obliged to confine ourselves to the cases that most frequently 
occur. | 

As caesuras and diaereses do not belong to the essence 
of rhythm, there are also verses which have only foot caesu- 
ras and foot diaereses. 

A verse is bad, in which a word ends with every verse- 
foot as in the well known: 

Nuper quidam doctus coepit scribere versus. 
Yet Ennius describes by a similar verse : 
Sparsis hastis longis campus splendet et horret, 
the uniformity of a battle-field covered with lances. So also 
the verse of Ennius: 
Disperge hostes, distrahe, diduc, divide, differ, 
describes the separating and breaking of the hostile lines. 
Faulty as is the separation of every verse foot, just as censur- 
able is a too solicitous intertwining of the words, especially 
if the verse has only feminine caesuras, as Voss has strikingly 
shown in a verse formed by himself: 
Sole cadente juvencus aratra reliquit in arvo. 
The hexameter is more tolerable if it has only masculine 
caesuras, as Lucret. II. 76. 
Augescunt aliae gentes, aliae minuuntur. 


A good poet interchanges the different caesuras and diaere- 


DACTYLIC STICHIC VERSES. 191 


ses, for in their variety consists a principal beauty of the hex- 
ameter: hence Nonnus is to be censured, who in the Diony- 
siaca permits the caesura xa7a@ zoizov Teoxaiov to predomi- 
nate; Moschus less, who in the epitaph of Bion uses it al- 
most everywhere, since the elegiac tone of the whole requires 
a soft rhythm of this nature. 

The hexameter requires a similar alternation also in regard 
to the feet. In general dactyls are preferred for describing 
what is rapid and animated, spondees for the representation 
of what is weighty, slow and solemn. — Farfetched art is, how- 
ever, equally censurable with a heedless carelessness. As a 
model of the truly artistic use of the variety of measure, and 
of the diaereses and caesuras, take Hom. Odyss. XI. 593— 
690. 


A 4 ~ 5] 
Kei ppv Siovgor sissiSov xoatéo adye éyorta, 
Acar Bactalorta mehopvoy auorteonorr. 
¢ 
"Hr0l 0 Mév, GUNOUTTOUMEVOS YEOOLY TE TOOL” TE, 
~ ie) 4 \; ’ Cr 
Ana cw 8EGXE OTL AOMov* AAA OTE WEALOL 
u 
” c , Use heat , Ne 
Axoov VMEOPALEELY, TOT KMOOTOEWAGXE HOUT alls 
3) z) ~ 
Avis: éneita ne50vbe xviivdero Laas cvadys. 
>: \ 09 SN a” v. A a Te \ 
Avtao oy aw woauoxe TitTaIvousvos’ xata O iWpews 
e ! ew 
+ let? b - , 98 5 A 5 , 
Edbeey &% usher, xovin & &% xOUTOS OOW—EL. 
0Q - Q 


Virg. Aen. I. 81—101. 


Haec ubi dicta, cavum conversa cuspide montem 
Impulit in latus ; ac venti, velut agmine facto, 
Qua data porta, ruunt et terras turbine perflant. 
Incubuere mari, totumque a sedibus imis 

Una Eurusque Notusque ruunt creberque procellis 
Africus, et vastos volvunt ad litora fluctus. 
Insequiter clamorque virum stridorque rudentum. 
Eripiunt subito nubes coelumque diemque 
Teucrorum ex oculis; ponto nox incubat atra, 
Intonuere poli, et crebris micat ignibus aether 
Praesentemque viris intentant omnia mortem, 
Extemplo Aeneaze solvuntur frigore membra ; 
Ingemit, et, duplices tendens ad sidera palmas, 
Talia voce refert: O terque quaterque beat! 
Quis ante ora patrum Trojae sub moenibus altis 
Contigit oppetere ! O Danaum fortissime gentis 


192 DACTYLIC STICHIC VERSES. 


Tydide! mene I[liacis occumbere campis 

Non potuisse, tuaque animam hanc effundere dextra ? 
Saevus ubi Aeacidae telo jacet Hector, ubi ingens 
Sarpedon, ubi tot Simois correpta sub undis 

Scuta virum galeasque et fortia corpora volvit. 


The fifth foot of the hexameter is commonly a dactyl, but 
sometimes also a spondee, and a verse which has a spondee 
in the fifth foot is call a versus spondiacus or spondiazon. 
By the spondee in this place the hexameter acquires a grave 
conclusion, and thereby the character of slowness, serious- 
ness and solemnity, as Virg. Ecl. TV. 49. 

Cara Deum soboles, magnum Iovis incrementum. 


The effect of this spondee is still increased, if preceded by 
one or more spondees, as Virg. Aen. VII. 634. 
Aut laeves ocreas lento ducunt argento. 


There are verses even which consist of spondees alone, as 
Hom. Tl. XA. 220. 


Poyny undyoxnov [latoozdjos dedoi0, 
a verse which strikingly delineates the profound grief and 
ardent longing of Achilles for Patroclus. 

If the poet has no definite aim in view, in these verses 
consisting of spondees alone, they are to be censured, as Cat. 
CXV.3. Lucr. VI 1135.- Ennias: 

Queis te lenirem nobis, neu conarere, 
An coelum nobis naturam introcorruptam. 
Olli respondet rex Albai Longa. 


Among the Greeks, the spondaics are more frequently 
found, than among the Romans; of the latter, Catullus 
most delights in such verses. The Romans are fond of 
closing the spondaics with a word of four syllables, as Catull. 


LXIV. 3, 11, 15, and in many other places: 
Phasidos ad fluctus et fines Aeetaeos. 
Illa rude: cursu prima imbuit Amphitriten. 
Aequoreae monstrum Nereides admirantes. 


Seldom with a longer, as Cat. LXIV. 286. 
Tempe, quae silvae cingunt superimpendentes, 
If a word of three syllables stands at the end of a spondaic, 


it is commonly preceded by a long word which has two ac- 
cents, as Virg. Aen. VII. 631. Cat. LXIV. 298. 


DACTYLIC STICHIC VERSES. 193 


Ardea Crustumerique et turrigeraé Antemnae. 
Cum thiaso Satyrorum et Nysigenis Silenis, 


or a word of one syllable, as Virg. Aen. VIII. 679. 


Cum populo, patribusque, penatibus et magnis dis, 


in order that the rhythmical accent may not rest on the finat 
syllable of a word, which, particularly at the end of a verse, 
fell strangely upon the Roman ear, not accustomed to the 
accentuation of the final syllable. 

The same holds, when the verse ends with an ionic a mi- 
nore, as Virg. Aen. IV. 667. 


Lamentis gemituque et femined ululatu. 


A peculiarity of the Roman poets is to be noted, that, 
when the hexameter has the“ zerOyumeons, they are fond of 
closing the two half verses with words which belong together, 


as Virg. Georg. LV. 253. Ovid. Met. I. 4. 


Quod jam non dubiis poteris cognoscere signis. 
Ad mea perpetuum deducite tempora carmen. 


As to the measure the following remarks are to be made: 

The dacty! can never be converted into the anapaest or 
the proceleusmatic. Ennius only allows himself both feet at 
the beginning: 


Melanurum, turdum, merulamque, umbramque marinam. 


Capitibus nutantis pinus rectosque cupressos, 


Often the anapaest or proceleusmatic is only apparent; 
they are then to be removed by a synizesis, as Hom. IJ. IX. 
ae 

Booéns vai Zépvoos, to te OorunVev cantor, 


where Booégns is to be read as a dissyllable, and the first syl- 
lable to be lengthened on account of the following g. 


Odyss. XXI. 178. 
ay \ \ , BA , \ a” 92 
iin Of OTEMTOS Eveline MEYAY TOOYOY EVOOY EOPTES, 
where ozeazog is dissyllabic. 
Virg. Georg. I. 482. Aen. XI. 890. 
Fluviorum rex Eridanus, camposque per omnes ; 
Arietat in portas et duros objice postes ; 
where fluviorum and arietat are trisyllables. 
The verses called by the grammarians versus 2o0xépador, 


which have a syllable too much at the beginning, as Hom. 
Odyss. IV. 682. 


17 


194 DACTYLIC STICHIC VERSES. 


'H einguevaa Suwjow Odvaciog Yeiouo, 
the versus axéqador, which begin with an iamb instead of a 
spondee, or a tribrach instead of a dactyl, as Hom. Il. XXUI. 
2. Odyss. XII. 423. 
Exedy vias ce not Eddignovror tzovrzo, 
Exizovog BéBdqz0, Boos 6woio tetevyoss, 
the versus 2@yaool, which have a trochee in the middle in- 
stead of a spondee, as Hom. Odyss. X. 60. 
Biy sig Aiohov zhura dopata: tov 8 éxiyavor, 
the wevovgot, which end with a pyrrhich or iamb instead of a 
trochee or a spondee, as Hom. Il. XII. 208. 
Townes 8 eddiynour, omg Wor atodLov ogy, 
the dodiyoovgot, which have a syllable too much at the end, 
as Hom. Odyss. V. 231. 
Asnrov nai yaoier, mepi dé Cavyy Bader’ ¢Svi, 
the zpoxotdtot, which have a syllable or atime too much in 
the middle, as Hom. I. II. 544. I. 17. 
Owprjnas Ouse Syiwr dugl oriVecst, 
Arosidai te xat wddor evzrnjudes Ayouoi, 
rest on a misapprehension of the grammarians, who trans- 
ferred their doctrines of prosody to the ancients. 

As at the end of a hexameter as well as at the end of every 
other verse, a pause occurs, it must also close with a com- 
plete word, and this 1s always the case, with few exceptions, 
which are excusable only when the poet has a special object ; 
comp. above, pp. 31,32. Hence in order to close the hexam- 
eter with a complete word, Homer shortened some words, as 
non, dame into xgt and dw and probably also Zjva into Ziv 
(Il. VITT. 206. XIV. 265. XXIV. 331). In Virgil, however, 
versus hypermetri sometimes occur, as Georg. I. 295. 


Aut dulcis musti Vulcano decoquit humorem 
Et foliis ete. 


Georg. II. 69. 


Inseritur vero et fetu nucis arbutus horrida 
Et steriles platani etc. 


Georg. II. 344. III. 242. 449. Aen. IV. 558. 
The grammarians mention several other names of different 


DACTYLIC STICHIC VERSES. 195 


forms of the hexameter, all of which, however, are of no 
e > , . 
practical use, as the hexameter xaz évomduov, which resem- 
bles a double trimeter : 
f — 


Mivw dede, Ose, Ijdniadeo Ayidijos, 
hexameter Aoyosdyg or modizixog, because its rhythm ap- 
proaches prose: 


“TInmovs 58 EavOag sxatov nol mEevtnnorea. 
Flexametri. Priapei, which resemble the different forms of 
the Priapeus. 

hae 2 ib 
seadartimmiarind anadindl (casdirtirantdiote 
Optat ephippia bos piger, optat arare caballus. 
Cui non dictus Hylas puer et Latonia Delos. 
, ss 
—vv en ay[ee nye 


Aut Ararim Parthus bibet aut Germania Tigrim. 


Among all the ancient measures, the hexameter maintain- 
ed itself longest in the works of the poets in the Latin lan- 
guage. It is probable that as early as the seventh century, 
rhymes passed over from the popular poetry of the German 
tribes into the hexameter and pentameter, and indeed rhymes 
were usually distributed between the middle of the verse 
(zerOnummeoys) and the end, as 


. Caseus et panis sunt optima fercula sanis. 
Tempore felici multi numerantur amici. 


Such rhymed verses are called leonine. Other trifles are 
omitted. 


v 


i, — —_— _— —_ 


(8) we ee YO ee YY OV es YO ee YY 


Hexameter pstoveos. 


According to Terent. Maur. p. 2425, Livius Andronicus 
used this verse by distichs with the heroic hexameter; the 
fragment, however, which he quotes is hardly from Livius 
Andronicus. The verse is used by the line in Luc, T'rago- 
dop. v. 312 sqq. ‘The grammarians consider this verse as 
a pentameter dactyl. acat. with an iamb following. It seems 


196 DACTYLIC STICHIC VERSES. 


in fact to be formed from the heroic hexameter by the inver- 
sion of the last foot, as the trimeter iamb. scazon, from the 
acatalectic trimeter ; but it receives thereby a soft arrhythmy : 
hence it could be used appropriately in satirical poetry only. 

According to Hermann (Elem. p. 356) the verse, on ac- 
count of Luc. Trag. v. 323. 

Kovgor, ehagoor, cdoimv, BoazyvBuBéc, arddvvor, 
consists of a tetramet. dactyl. acat. with an iambic dipody 
following, the first foot of which commonly appears as a spon- 
dee or dactyl: 

; meee 
According to others the verse consists of a pentameter 
cat. in syllab. with a cretic following, which commonly takes 
the form of a fourth paeon : 


The caesura is commonly the zerOnutueors, as 
Livius ille vetus Grajo cognomine suae, 
Ovre Aws Boortais Laduwreog rows Bre, 
or after the third trochee: 
ALM EFave Woloevta Supsion Oeor poeva Beret. 
"Hnwor, © maévdyus, peoorg chynua, Hoduyou. 

The fifth foot appears for the most part as a dactyl, and 
perhaps only in proper names as a spondee, as Luc. Tragod. 
v. 314, 321. 

ae eglous exhon Poipe Gutvoos Magovas. 
2s Aws, og Aazovs, oo ad2aSos, og Hv Ot0v. 


(b) Aeolte and logaoedic verses. 


The Aeolic verses, which were often used by the Aeolic 
lyric poets, particularly by Alcaeus and Sappho, consist of 
light dactyls to which a basis is prefixed. ‘The spondee 
could not be put for the dactyl. The verses are sometimes 
acatalectic, sometimes catalectic. In the former case a long 
can be put for the last short of the closing dactyl (comp. p. 
82); but it is doubtful whether such verses should not rather 


DACTYLIC STICHIC VERSES. 197 


be measured as logaoedic. ‘The basis appears either as a 
spondee, trochee, iamb, or pyrrhich, and is never, as it seems, 


of three syllables. 
The following verses, according to Hephaestion were in 


use: 
x-— _ 
OS 


Vv 


Trimeter cat. in disyllabum. 
Ovoewo@ m0deg Extoooyvot, 

Ta dé copPadra mevreposva’ 
Tlicvyyou & b&& eenovacar. 


x-—vs —_ 


v 


Trimeter acat. 


or perhaps logaoedic : 
i= 7 


we eee OY ee Yee 


vv 


Sappho: “Egos 8 aut wv 0 Avomedig Sovei, 
Dhvxvaixooy aayavor oometor . 
Att, coi 8 éusdev pev anyy Pero 
Doorzicdyr, int 8 Avdoonedav nory. 


xX-—~,7 


vw 


Tetrameter cat. in disyllabum. 
Téy 6, © pile yoaupos, xakag sixcod ; 
uy ~ [A Dy SSBoe 
Oozant Poadwe@ ce wahiot sixacdo. 


x-7 _ 


Vv 


Tetrameter acat. 


\ 
To Langinor tecougesuadexaovsdrcpor. 
X—/7 = 
or perhaps logaoedic: -v-vy—vy ve —v— 
Le 


198 DACTYLIC STICHIC VERSES. 


Sappho frequently ised this measure; Hephaestion quotes 
as an example: 
Hoauar pev &o cédev, Ac, méhou mone. 
Theoeritus likewise used it (Idyll. XXIX). In v. 33 and 
39 the spondee is ouly appurent, as we should read ardgetar 
and avdetais. 
x7. =~ 


v 


Pentameter cat. in disyllabum. 
"Enog Atohtxov. 


If the basis is a spondee, the verse is wholly similar to the 
. y , 
heroic hexameter ; hence the name ézog Alodxor. 


Kehoual tax tov yaoievta Merova xahecout, 
> | oe are >) ~ 
Et yon ovunociags é@ ovacw enor yeyerno Oat. 
Of the logaoedic dactyls the following were used by the 
line. 
Xia a 


(6) =+-+¥ =v -e ns 


Phalaeceus hendecasyllabus. 


This logaoedic verse was used among the Greeks by Pha- 
laecus, Theocritus (Epigr. XX.) and others, and among the 
Romans very often by Catullus, Martial, Statius, Ausonius 
and others. Among the Romans the basis appears as spon- 
daic; Catullus only, following the Greek model, allows him- 
self the trochee also, as Carm. I. 9. 

Qualecunque, quod o patrona Virgo, 
the iamb, as Carm. I. 4. 
Meas esse aliquid putare nugas, 
and once the tribrach, as LV. 10. 
Camerium mihi, pessimae puellae. 
He has not the pyrrhich. 

The shorts of the dactyl are not contracted. An exception, 
however, is found, Cat. Carm. LV, where the spondee stands 
fourteen times for the dactyl, as 

Oramus, si forte non molestum est. 


In XL. 1. Catullus has even a versus hypermeter : 


DACTYLIC STICHIC VERSES. 199 


Quaenam te mala mens, miselle Ravide, 
Agit praecipitem in meos iambos. 


The Phalaecean has no fixed caesura. The caesura after 
the long of the dacty] is most suitable, as Cat. Carm. V. I. 
Vivamus, mea Lesbia, atque amemus, 
or after the arsis of the first trochee, as Auson. Epist. IV. 
85. 
Istos composuit Phalaecus olim, 
Qui penthemimerin habent priorem, 
Et post semipedem duos iambos. 
The verse is bad, if a word ends with every verse foot, as 
Cat. II. 9.. 
Tecum ludere, sicut ipsa, possem. 
As an example take Cat. Carm. II. 


Passer, deliciae meae puellae, 

Quicum ludere, quem in sinu tenere, 
Cui primum digitum dare adpetenti, 
Et acres solet incitare morsus : 

Cum desiderio meo nitenti 

Carum nescio quid lubet jocari, 

(Ut solatiolum sui doloris, 

Credo, ut tum gravis acquiescat ardor) : 
Tecum ludere, sicut ipsa, possem, 

Kt tristis animi levare curas ! 

Tam gratum mihi, quam ferunt puellae 
Pernici aureolum fuisse malum, 

Quod zonam soluit diu ligatam. 


xXx—~v7 x— ie 


(7) eee ae Oe ee Ve Ve Oe 


This verse, used by Alcaeus, consists of two dactylic- 
logaoedic series with the basis, of which the first is catalec- 
tic, the second acatalectic. A cretic forms the close. Al- 
caeus in Athen. XIV. p. 627. A. B. 

Meouaios dé utyag S6uos yaiuo: aaca 8 "Aon uexo- 
Ounrta oreyn 
~ ~ . o 

Auunoaisw xvvéuot, zac tay Leva naddmeoher t7- 
mot Logpot 

ee & re; ~ vA A 

Nevovow, xeqadaiow ardoav aydduata: yaduece O¢ 

MACGKLOLS 


200 ANAPAESTIC STICHIC VERSES. 


Kovatoiow megineivevon Laumeut uvopudes, &Qx0S toxv- 
0a Béhevg x. 7. 2. 


B. Anapaestic Verses. 
(a) Rational Anapaests. 
ge Spray 1 ee Wee 
(1) ve-veneens 
Dimeter cat. in syllabam. 


Paroemiacus. 

This verse repeated by the line is used for marching-songs 
(guBazyore). ‘The spondee was preferred in the third foot, 
and diaereses after each foot. Tyrtaeus used it thus in 
Dion. Chrys. I. 57. (Brunck. Anal. I. p. 53). 

Ayer oo Xnagrus evavdoov 
Kovgot 2atéowr monroe’ 
Awe per itvy 2p0Barécde 
Aoov & svrohuws Baddortes, 
My pedopevror tas Cwas: 

Ov yao MATOLOY TAS Sats. 

The comic poets, too, appear sometimes to have used this 
verse; thus Cratinus in Hephaestion : 

Diyav vey anus eye owe 
Kai narra hoyor raya mevost* 
Hiv & ‘T0axn marois éoti, 
TThéoper 8 aw Odvocei Peto. 
-7;- -s7- -/- 
Trimeter cat. in syllab. 
*EuBatnovov, Messenicum. 

Likewise a marching-rhythm according to Mar. Vict. p. 

2522. He quotes as an example: 


Superat montes pater Idaeos nemorumque. 
Simmias, according to Hephaestion, composed an entire 
poem in this metre: 

¢ te ¢ fe Pia Yan oe ke: , , , 

Lorian ayva, an evSeror pecan Tolyor. 


ANAPAESTIC STICHIC VERSES. 201 


_/;yS— -_- /—_ _ /;— _ fj — 


(3) OF meV Ga OY LOC Oe wee 


Tetrameter cat. in syllab. 
Versus Laconicus. Versus Aristophancus. 


This verse was used partly as a marching-rhythm, partly 
in comedy. ‘he Spartans used it frequently as a marching- 
rhythm, whence it is called versus Laconicus. It had then 
the spondee in the seventh foot, as, 


oy > Bs , oy” ~ A \ y+ iZ 
Ayer, o Lmvoras éEvortdor xovoot, moti tav Ages xivacw. 


It was early used as a comic verse, as by Aristoxenus, 
Epicharmus, who is said to have composed two entire come- 
dies in this verse, and Cratinus. Aristophanes, too, used it 
frequently, and he usually makes one or more anapaestic sys- 
tems follow after such verses. 

The principal diaeresis is after the fourth foot, so that by it 
the dimeter is separated from the paroemiac. A word which 
belongs closely to the following, as a preposition or the ar- 
ticle, cannot stand before the diaeresis; hence Arist. Ran. 
1026, is not to be read: 


Eiza dWaSag covg [éocas peta cove énvdvpsiy édidaka, 

but: 
Eiza didakas gooas peta cove’ envdvuusiv é&edidaSaz, 

and Nub. 372, not: 

Ni tov “Anod)@, tovz6 yé to TH veri LOy@ ev modGEMUGAS, 
but : 
Ni tov "A011, covz0 yé tor 61, 7H viv LOyH Ev MOOGEpLEUs: 
The diaeresis is very rarely neglected, as Arist. Av. 600. 
Tor coyvoiwr. ovtor yao ioact. Léyovot dé tou THE MEVTES. 


Besides this principal diaeresis a foot diaeresis usually oc- 
curs between the first and second dipody, which is, however, 
frequently neglected. The paroemiac has no fixed diaeresis 
or caesura, 

As regards the measure, the proceleusmatic is everywhere 
excluded, and where it occurred it has been properly removed 
by the editors, as Vesp. 1015, where MOOS EY ETE has been 
rightly changed into zodoyeze. 

The dactyl can everywhere be placed for the anapaest, 


202 ANAPAESTIC STICHIC VERSES. 


except in the seventh foot. It is very rare in the fourth foot 5 
Porson is inclined to exclude it altogether. Arist. Nub. 326. 


‘Ro ov xa9000.— napa tiv sicodorv. — 7Sy vuri mods OvTES. 
An anapaest is not allowed to follow a dactyl. An excep- 


tion, though very rare, is when the fourth foot is a dacty], as 
Arist. Vesp. 397. 


Abror Sicous.— @ pwagarare, ti mosis ; ov wy nataBice ; 
If the second foot is a dactyl and the third a spondee, the 


last syllable of the dactyl is not allowed to be the first syllable 
of a word which is an iamb or bacchius: 


as Arist. Ecl. 518, not: 
ZvuBovdoww anacais vir, 
but: ZvuBovhovow macau vir. 

Aristophanes excluded the spondee from the seventh foot, 
and this is the reason why with him the sixth foot is never a 
dactyl; Cratinus, however, had the spondee, as, 

Ro ay waihov coig anSadlorg 7 vads jor mevOaoyxy, 
and Aristoxenus: 

Tis ahalovian mieiotar mupeyer THY EVOQWMOY ; TOL MATE. 

With regard to the prosody, it is to be observed, that a 
long syllable in the anapaest and dactyl can be shortened 
by a hiatus, as Arist. Plut. 528. Nub. 977. 

Ov? &y Samow: tis yao Vpaive EFEdjoE YOVGOV OYTOS ; 
Hheivato § av tovuparov ovdes mag vadvegder tot ay 
OTE. 

The prolongation by a mute with a liquid is very rarely 
allowed, and generally then only when another poet is paro- 
died, as Homer in Arist. Nub. 401. Vesp. 652. 

“Alia tov avTOd ye veov Badder nat Sovviov uxoov 7AOnréwr. 
"Arap, w marep juczege Koovidn. — Havoc nat uy waréorte, 
or a dithyramb, as Nub. 335. 

Tavt oo énoiovr vyoarv Negedav orpentayhay Sdiov ogucy. 


Finally, a proper name excuses the prolongation, as Av. 
553. Lys. 5o1. 


ANAPAESTIC STICHIC VERSES. 203 


2 KeBouwve xat Tlooqueiar, o¢ cuegdadgov 10 m0ktoue. 

"ALL inymeo 0 te yhuxvOvpos "Eows yn Kunooyéver 7A qpoodizn. 

As an example of the Aristophanic verse take Arist. Av. 

693 sqq. 

Xcog jv nai NE "EgeBos te wshav apatov xai Taeraoos 
EvOUS" 

Ij & ovS ajg ovd oveavros nv. “EoeBovs 8 &y ameigoot 
“xOL0L8 

Tizret mowtiotoy vanrémor Nv§ 7 ushavortepos wor, 

EE ov MEQITELLOMEV CUS COCIS EBdaoter "Eows 0 novewos, 

LtiBwr vodtoy mtEvYOLY YOVGAIY, ElxOS arem“oxect Sivas. 

Ovtog Si Xcer arepoeree miyels voy xaca Tdoragor evorv 

Eveorrevoev yévog nusteoor, xa MOWTOY aryyayEy &g POS. 

Among the Romans, Plautus uses this verse, as Mil. glor. 

IV. 2. 21—102. He admits the proceleusmatic, as v. 20. 


Erit, ét tibi exoptatum dbtinget.—bonum habe animum, ne 
formida ; 


he has in the seventh foot the spondee, as v. 31. 
Quid? ego hic astabo tantisper cum hac forma et factis? sic, sic ; 
he resolves the last arsis, as v. 32. 
Frustror?— patere atque asta; tibi ego hance do operam.— pro- 
perando excricior ; 


he neglects the diaeresis after the dimeter, as v. 30. 

Brevin’ an longinquo sérmone ? — tribus vérbis. —jam ad te rédeo, 
and, finally, treats the verse as asynartete by admitting the 
hiatus and anceps in the middle, as v. 24, 43. 


Tum pol ego, quod celo, hatd celo. — imo ¢tiam, sed non célas. 
Quia tis egeat, quia te careat.— ob eam rem huc ad te missa est. 


wv 


_- ss; — _—_>_ -;— _- SS; — _ -;~— 


Tetrameter anapacst. acat. 


The tetrameter anapaest. acat. seems to have been used 
by the Roman comic poets in as peculiar a manner as the 
tetram. lamb. acat. Terence, however, has neither; Plautus 
uses it sometimes, as Aulul. [V. 9. Casin. II. 3. Bacch. V. 
1,2. Such acatalectic tetrameters are usually followed by 


204 CRETIC STICHIC VERSES. 


catalectic (Bacch. IV. 10, in distich combination) or by 
lambic octonarii and septenarii. The same liberties take 


place in this verse as in the preceding, as the anceps after 
the dimeter, Bacch. V. 1. 7. 


Omnia me mala cons¢ctantur — omnibus exitiis interii, 
the hiatus, Casin. II. 3. 10. 


Myropolas omnes sollicito— ubicinque est lepidum unguéntum, 
ungor, 


The diaeresis is frequently neglected after the dimeter, as 
Aul: 1V.-9; 3. 


Nequeo cum animo certum investigare: dbsecro vos ego, mi 
auxilio. 


The proceleusmatic occurs, as Casin. II. 3. 8. 
Hanc ego de me conjecturam domi facio magis quam ex alditis. 


(b) Irrational, logaoedic Anapaests. 


vy 


— / _— 


SG me ee NM Mee YY YY 


Anapaestic. quadruple dupliciter iamb. cat. 
Versus Archebuleus. 

According to Hephaestion, the first foot might also be a 
spondee or 1amb; in that case, the verse would rather be a 
logaoedic-dactylic rhythm with the anacrusis, which might 
be sometimes monosyllabic, sometimes dissyllabic. Hephaes- 
tion mentions as an example from Callimachus: 

A \ i. ~ 7 > 
‘Ayer Seog, ov yao eyo Siga tHE aelSew. 
“E \ a) (2 (v4 IY 
Nougea, ov wer aoreoian vp cuasav 7 On. 
A x \ € ad \ S ry 
Diiwreon vot yao a Lireha pev “Evra. 


Compare Diog. vit. Carn. IV. 65. 


II]. Verses OF THE ONF AND A HALF KIND USED BY THE LINE. 
Ay Crettrer Rehm... 


/ / , 2 a4 


Tetramet. cret. acat. 


This verse was frequently used by the Greek comic writ- 
ers, as by Cratinus in Hephaestion : 


ANAPAESTIC STICHIC VERSES. 205 


Naige 0j, Movou* yooria. ner rues, omag © 
H1G8es, ov moiv ye Seiv, to Ot cages. GAR 07706. 
Aristoph. Vesp. 1275 sqq. 


fe Sd elect ed Oe ot ee eg 


Sh 7 
Q waxaov Adroueres, og oe waxagifouer, 
a 7 

Tlaidag epvrevous or yErporteyytzwmturovs, 

Tlodza piv anact pthov avSoa te copataror, 

Tov uP aoaowWoraror, @ 7aolg EpeomEro, 

Tov 8 vaozityy Exeoor, aoyaudéov ws copor* 

Eiz ‘Aoupoadyy, modu te Ovpocogtxwraror, 

cf , >. OF ue \ AS 

Ovtwa mot wuoce padortTa mMAaQa MyHSEVOS, 

> > > \ ~ , E) , 3 ~ 

ALN uno copings groeos avropator éxpadeiv. 
Simmias likewise has it, as, 

ie 5 P = = 

Maree w morria, x00, vyuqear aBoar 

Ang. xvuoxtinmy jour ahiov woyor. 
The same has, in one poem, resolved all the arses, except the 
last, as, 

Sy , A A - > \ , - bt Z , f 
Le mote Aws ava mvpare veaos HOE VEPOOYITMY. 
With others, the first three feet are fourth paeons: 
” > J 

Ovpehizay (01, Mexao, PiLopoovras ets Eo. 

The principal diaeresis is after the second cretic; it is, 
however, sometimes neglected. Poets freely separate the 
other feet, also, by diaereses. 

The use of this verse is very frequent with Roman drama- 
tists in the cantica. ‘They treated it very freely. The verse 
is frequently asynartete, so that the anceps or hiatus occurs 


after the dimeter, as Enn. 
Aut auxilio ¢xili- aut fuga fréta sim, 
Plaut. Amph. I. 1. 86. 
Quisque ut steterat, jacet — obtinetque ordinem, 
Besides this the hiatus and anceps occur also at a strong 
punctuation or a change of persons. 
As an example take Plaut. Cure. I. 2. 60—67. 
Péssuli, heus péssuli! vés saluté lubens, 
Vos amo, vos volo, vos peto atque dbsecro, 


18 


206 BACCHIC STICHIC VERSES. 


Gérite amanti mihi mérem amoenissimt. 
Fite causa mea Lidii barbari, 

Sussilite, dbsecro, et mittite isfanc foras, 
Quaeé mihi misero amanti ébibit sanguinem. 
Hoc vide ut dérmiunt péssali pessumi, 

Néc mea gratia commovent se ocyus. 


A ff ¢ i 


(2) -v--¥--eo = 
Tetrameter cret. cat. 


Plautus has this verse, as Trin. II. 1.17. The last arsis 
occurs sometimes also resolved : 


Da mihi hoc, me] meum, si me amas, si aidis. 
Ibi tum ille cucilus, hem, océlle mi, fiat : 

Et istuc, et st Amplius vis dari dabitur. 

Ibi pendentéem ferft: jam amplius drat : 

Non satis id ést mali, ni dmpliust étiam, 
Quédd bibit, quod comest, quod facit stunpti; 
Nox datur, dicitur familia tdta. 


B. Bacchic Rhythms. : 


| hae 2 (fe Re, a ae a 


eee ee ae ae oe YY eee 


Tetrameter bacch. acat. 
The Romans made frequent use of this verse in the can- 
tica of the drama with the liberties mentioned above, p. 127. 
The principal diaeresis after the dimeter is frequently 
neglected, as Plaut. Poen. I. 2. 4. 
Habent forte si 6cceperis exornare. 
Plautus also uses the verse as asynartete, admitting the 
hiatus, as Menaechm. V. 2. 1]. 
Repénte expetit me —ad sése a me ut irem. 
A dimeter is often intermingled with several tetrameters. 
Sometimes the following iambic close terminates several 


tetrameters : 
/ 


ee ed 


As an example take Terent. Andr. III. 2. 1—5. 


Adhte Archylis, quae adsolént quaeque oportet 
Signa ésse ad salutem omnia, huic esse video. 


CHORIAMBIC STICHIC VERSES. 207 


Nunc primum fac istaec lavét, post deinde, 

“7 : . , . , a eae 
Quod jissi, ei dari bibere et quantum imperavi 
Date mox ego hue revertor. 


IV. VERSES OF THE CHORIAMBIC-IONIC KIND USED BY THE 
LINE. 


A. Choriambic Rhythms. 


(a) Choriambic series without the anacrusis and basis, with logaoedic 
terminations. 


/ 4 Z — 


(aloe area ve 


Trimeter choriamb. 
Sappho used this verse according to Hephaestion : 

Asvré ver, uBoat Xagures, xaddixowoi te Moioa. 
Anacreon, in one poem, always resolved the arsis of the first 
choriamb : 

"Avanéromcs by 1009 "Ohuunor mreovyecot xovqaus 

Ava tov Eowt’, ov yao guot mac eOedev cvrnBeer. 


; : ‘ j zs 
(oy oie ese open eet 
Tetrameter choriamb. 
Callimachus: 
Aaipoves etvpvotarot, Doipé te xat Zev, Svpyor yeraoya. 


vA / / / / = 


(3) eee Ye YY eee ee Oe YY ee 


Pentameter choriamb. 


Philicus of Corcyra claims to be the inventor of this verse, 
although Simmias had used it previously : 
Ti yOorty uvorince Ajuyted te xat Hepoegory nat Kiv- 
nev TH OWQG. 
Kawoyougovs surdécews ths Didtxov, youppatixol, dopa 
Déow M00S vMas. 


208 CHORIAMBIC STICHIC VERSES. 


(b) Choriambic scries with the anacrusis and logaoedic terminations. 
_— Wf — 
Monometer choriamb. 
a c 
Sappho: ANSvxe pev & oEhave 
‘ oe AS 
Ka Tiyiades, uso 88 
ry? , > ens? 
Noates, maga 6 éozed woe: 
| \ \ , , 
Eye) Se wova zadevdo. 
Dimeter choriamb. 
rr o~ , 1g , 2 
Sappho: Kojocal vv 200 wd éupshéwe nrodecow, 
>} ~ 2 € ~ >? >» 3 , , 
LRoyevvd anakoig “ug eooerta Boor. 
Hephaestion considers this verse as an ionic a majore. 
J 
TF / (4 = 
Trimeter choriamb. 
Sappho: Evpogqoteoa Mracibiza tas anadas Dveuves 
) , ’ Loa ime, ane Ceueet Oaam | , , ~ 
Acupotéous, ovdau Et o ‘purva, c&de_ev tvyoicn. 


Hephaestion considers this verse also as an ionic a majore. 


(c) Choriamlic series with the basis and logaoedic terminations. 
xX- 7 - 
(1) =»=+¥-~ =~ 
Monometer choriamb. 


Sapphicum enneasyllabum. 


Sappho: Kai zvicoy twa Ovumyjoas. 
Kay, / if 
) Same YY oe me VV ee VY 
(2) - | 


Dimeter choriamb. 
Asclepiadeum I. 

This verse was used by Horace Carm. I. 1. III. 30. IV.8. 
The basis is with him always the spondee, and the diaeresis 
after the first choriamb is carefully observed. The elision 
does not destroy the diaeresis, as II]. 30. 1, 7, 12. 


CHORIAMBIC STICHIC VERSES. 209 


Exegi monumentum aere perennius. 
Vitabit Libitinam,. usque ego postera. 
Regnavit populorum ex humili potens. 


Once only the diaeresis is neglected, and that in a proper 
name, IV. 8. 17. 
Non incendia Carthaginis impiae. 
Bentley considers the verse spurious. 
As an example take Carm. HI. 30. 
Exegi monumentum aere perennius, 
Regalique situ Pyramidum altius, 
Quod non imber edax, non Aquilo impotens 
Possit diruere, aut innumerabilis 
Annorum series, et fuga temporum. 
Non omnis moriar, multaque pars mei 
Vitabit Libitinam. usque ego postera 
Crescam laude recens, dum Capitolium 
Scandet cum tacita virgine pontifex etc. 
DSW ? , - 
en 
: Trimeter choriamb. 
Karévacun, Kutéoy , Boog “Adams: ti xe Oeiuev ; 
Si , t 


(4) os eus a Stes ve ee 


Trimeter choriambicus. 
Asclepiadeum II. 


The Greek lyric poets, Sappho, Alcaeus, Stesichorus, have 
this verse, as it seems, without a fixed diaeresis, as Alcaeus: 


Myédev ido putevays modzepoy Sévdeeor auméehoo. 
Sappho: 
Kardavoica S& xeon. ovdémoxa uvapoorvva o&Per 
"Eoost ovdén0x% sig voteoov: ov yao medéyetg odor 
Tov é INeoiag: GhX aparns unv aida Sopot 
Doizaces, 125 KUavoay vEexvery ExmEMoTapEeree. 
Sappho has the pyrrhich as a basis: 
Podonnyees cyvat Xaguteg Sevze Avg xogett. 
Catullus, Carm. XXX, followed the Greeks, but he has 


everywhere the spondee as a basis. 
1e* 


210 CHORIAMBIC STICHIC VERSES. 


Horace has this verse, Carm. I. 11; 18. IV. 10. The 
basis is always a spondee; the diaeresis occurs constantly 
after the first and second choriamb; once only it is neglected 
in the second choriamb in a compound word, I. 18. 16. 

Arcanique fides prodiga perlucidior vitro. 
As an example take Hor. Carm. I. 11. 


Tu ne quaesieris, scire nefas, quem mihi, quem tibi 
Finem di dederint, Leuconoe, nec Babylonios 
Tentaris numeros ; ut melius quidquid erit pati, 

Seu plures hiemes, seu tribuit Jupiter ultimam, 

Quae nunc oppositis debilitat pumicibus mare 
Tyrrhenum ! sapias, vina liques, et spatio brevi 
Spem longam reseces : dum loquimur, fugerit invida 
Aetas. Carpe diem, quam minimum credula postero. 


X-— , / — 


Trimeter choriamb. 
a Bl \) , , (4 ig ow 
Tov otvyvoy Mehavinnov govov at matpopovar eoutot. 
. x- 7, ? / , 


(6) ee eee ee Oe YN Me 


Tetramet. choriamb. 
Koovrida Bastajos yévos, Aiav, tov &guotoy 288 “Ayddea. 


There are some verses of the choriambic rhythm which | 
were used by Greek comic and lyric poets, and were, for the 
greatest part erroneously, numbered by grammarians among 
the polyschematist verses. 

ate, Gg X~—-X—/7 
Epionicum polyschematistum. 

It consists of two choriambs of which the first has a basis 
and anacrusis, and the second a double basis. Eupolis used 
it according to Hephaestion : 

°Q uaddiorn mod macor ooas Ki&kov epooe. 
‘Qe evdaiuorv 2odteodr T HGFa, vov Sé waddov eet. 

The diaeresis after the first choriamb is not always ob- 
served. 


CHORIAMBIC STICHIC VERSES. AB | 


>, Se 2. Ss 
Metrum Eupolideum. 

It consists of a choriamb with a double basis, and a cretic 
with a double basis. ‘The comic poets Eupolis, Cratinus, 
Pherecrates, Aristophanes (Nub. 518 sqq.) and Alexis used 
it frequently. 

Aristophanes has in the first and third basis, besides the 
trochee and spondee, the iamb also, as 529. 518. 

‘O G@powY Te YO uaTANVYOY KOLOT HxOVTATHY. 
a6; ao / y ~ \ tg ~ 2) o 7, - 
EWUEVOL, ZATEOW 00S VUAS Ehevd EWS. 
and the tribrach in the first basis but once, 539. 
dy \ See 2f \ ~ , id: “5; , 
Eovdeor & axoov, mayv toig madiorg wy yéhos. 

The other comic poets seem to have treated the basis with 
more license. Pherecrates has the anapaest in the second 
basis : 

Ss av ] ~ 
Kaze uvoomwrsiv tu wadore vdeo ézony xa0jusvor. 
and in the third the tribrach: 
LvvESeuor, toig pepaxtog ww éhader de nugoas. 
The diaeresis after the choriamb is often neglected : 
As an example take Arist. Nub. 518—526. 
°Q Geowpsevol, xatEo@ 00g Vuas eevOkows 
Tandy, vy tov Awrucoy tov &xPoewarte me. 
Ovra vianoaiul ¢ &yo xe vomCoiuyy coos, 
Qo vas yyovpmevog sivoa Oeatas Se&vovg 
Kai cavryy coporur yew tov suov xonumdvor, 
TIoatovs 7kioe dvaysto vuas 7 MaogozE mot 
"Eoyov mheiotov* ett avexoigovy um avdgay pogtincy 
¢ A > vy +; fang ae) J € ~ 
Hrzn ders, ov a&wog ov: cave ovy vuivy meéupowce 
Toig copoig, wv ovvex éya TadT ExouymutEvouny. 
/ —) X—X—, 
Metrum Cratineum. 
It consists of a dimet. choriamb., the second choriamb of 


which always appears as an iambic dipody, and a cretic with 
a double basis. ‘The diaeresis was frequently neglected. 


212 CHORIAMBIC STICHIC VERSES. 
It was employed by the comic poets Cratinus and Eupolis. 
Hephaestion quotes as examples: 
Evie xwooyait avak, yaio pack “Expavrcidye. 
Tlavra poonta, marta tohunta tpd_e tO yoou, 
\ pal oP id \ , ay , 
TThiy Zeviov vomows xa LSyowtwvos, wo Xeoor. 
and of Eupolis: 
Avdoeg éraigor, Sedvoo Sn tHY yrounr moosioyete, 
\ ~ 
Et dvvator, xa py te wsiloy mpartovoa tvyyaver. 
/ coal 
(4) -v+-~ 


Choriambicum polyschematistum. 


tA — 
=i =| eee 


This verse consists of a dimeter choriamb., the second cho- 
riamb of which appears as an iambic dipody, and a choriamb 
with a logaoedic termination. Besides the comic poets (Eupo- 
lis) Anacreon also used it: 

Siwahor eidov &v yoow aynxtid Eyovta nadny. 
Eupolis : 
Alia Siaitay, qv tyove ot uohanes, mOdS Vuas. 
A 
Asouev’ add hxovou?, ws sopev Eavta xomWoL 
Avdpes* oto moaTH Mev TAIG axdLOVOOS Eat 
t pata 
> , \ \ \ , > \ e) o 
Abdortows ta 20120, uizoov O€ TL XaMOY AUTOV. 
The diaeresis after the dimeter was frequently neglected. 


X-—~s x — ae 
(5) =» vena [aves 


Versus Priapeus. 


The Priapean is the only really polyschematist verse among 
those mentioned by the grammarians as such. It consists 
of aGlyconic and Pherecratean; the former admits of two 
polyschematist forms: 

Xx X= 


eee ee ee 


the latter of one: ; = 


me MVM ee VM ee YY 


Anacreon used it in its original form: 


CHORIAMBIC STICHIC VERSES. pa be} 


THoistyce wer irotov Lentov mizpov anoxias, 
Oivou © é&émov xadov: voy & aBows éodveccav 
Palio anuridsa th pithy xopalor maidi «Bon. 

and Catullus Carm. XVII, XVIII, XIX, as Carm. XVIII. 
Hunc lucum tibi dedico consecroque, Priape, 
Qua domus tua Lampsaci est, quaque silva, Priape ; 


Nam te praecipue in suis urbibus colit ora 
Hellespontia, ceteris ostreosior oris. 
The comic poets seem to have used all forms indiscrimi- 
nately. Examples of the polyschematist forms are : 
xX-~7 , - 
~ / A 
Kerdovozor, wadaxov t tov hetuana, xa toupuddor. 
X—-X-—/ X—7 ~ 
Bi \ ~ , 
Ov BéByhos, w teherai tov veov Avorvoov. 
. Xi Xi / — 


cefisteadstmanl ideal dha sea 


Tr dvaderdoadar analas aonaladovs matay t¢. 
/ 4 = 


A ~ 
Kal pelidaciwvor Lakov xat 60da mo0gcecnoas. 


The last form resembles altogether the choriambicum 
polyschematistum. 


Besides the trochee and spondee, the iamb can be used in 
the bases, as, 


~ A 
Telav & innocdlwa nat xoopocardada Baivor. 
(s ? \ ~ \ , 
Oseveor IIjdovotaxor xvepaios mapa téhuc. 
the tribrach: 
‘Tr avaderdoadar anaras aonakadovg matey t6. 
20) ‘ , f \ ded ~ > , eo at o 
Q uahayas usv oowr, avanveov F vanwIor. 
and, although rarely, the dactyl, as, 
e , \ ~ oe, aN ’ , i“ 
Ay peoousy mapa tH Fsov, av ExahETouUTO TIVH. 


The diaeresis after the dactyl is strictly observed. ae 
elision does not destroy it, as Cat. XVII. 24. 


Si pote stolidum repente excitare veternum. 


214 IONIC STICHIC VERSES. 


The verse is sometimes asynartete; hence the hiatus and 
anceps in the diaeresis, as, 


“Av péoouer napa tis Geov, av éxakgoouto THVE. 
Catull. XIX. 4. 


Nutrivi magis et magis, ut beata quotannis. 


B. Ionici a majore. 


eae FS; 


(1) --~+--- 


—_v —”Y 


Dimeter catal. in trisyllab. 


Versus Cleomacheus. 
\ ¢ ¢ ~ 
Tig thy vdoiny vuoy 
e} , > ’ \ , 
Ewogye ; eyo muwevr. 


CL Lt Tae i 


(2) eee 


Tetrameter catalect. in disyllab. 


Versus Sotadeus. 


It was used by Sotades and other poets in ethical and sa- 
tirical poetry ; and was, according to Aristides Quintilianus, 
never sung, but only recited. Among the Romans, Ennius 
had Sotadics in his satires and in the Asotus, Plautus in 
Amph. I. I. 14. sqq. Aulul. IT. 1.30 sqq. III. 2. Stich. I. 1. 
1 sqq. and Martial Epigr. IIT. 29. 

The verse was treated with great freedom. All the arses 
except the last, and in Plautus even this, could be resolved 
and the theses contracted; but with the Greeks this contraction 
is allowed in the second foot only. A long could be put for 
the second thesis of the ionic, especially in the second foot, 
more rarely in the first and third. Finally, the ditrochee 
could everywhere be substituted for the ionic, which was 
often done, particularly in the third foot. he first long of 
the ditrochee could be resolved; in Plautus the second also ; 
finally, it was allowed to put the fourth epitrite for the ditro- 
chee, in Plautus even the dispondee. 

The diaeresis is after the second foot, but it is often 
neglected. 

The pure form: 


Vie hs Yaad Len ied 


eee Oe ee i Oe a ee YY ee 


IONIC STICHIC VERSES. 215 


“Ay yovoopovrs, tovt0 tuyNns got EnaQuE, 
and the polyschematist : 


/ / / frames 7. : 1 


wee ee ee Ye ee ee YY 


‘Qy névng Béhov Eyew nat mhovows mhéov oxeir, 
are rare. Usually ionics alternate with ditrochees. The 
following form is most frequent: 


and ’ Sa / / foe 


Eis ovy doiny tovpadinr 10 xértoQ0v wets. 
Mart. Epigr. I. 29. 


Has cum gemina compede dedicat catenas, 
Saturne, tibi Zoilus, annulos priores. 


Resolutions are particularly frequent in the first foot : 
Nowog éori Geog tovtoy wet martoTE TYME. 
Tloviva0da payor 0 Awyerng ouor céOvyuer. 
Tl08a, yorv, xotvan?, doroayadovs, (oxic, unoovs. 
more rare in the second and third: 
Sogorxhijs Saya payor orvapvays, aviysig ceOvyxer. 
Soi covz0 yevecw pidov, TO o& wySey ATaxTELY. 
As an example of a molossus in the second foot take: 
N \ , 2 SN ‘ Ul 
FT unyarizor mou 4 copoy wadnuc, 
of the lengthening of the second short of the ionic : 
in the first foot: det zOv voz PUAO)LEVOY oedtxov aUTOY eimeiv. 
in the second: eno 70 1000.0 ov HOel bevels &y Boorois aQUoTOS. 
in the third: é tivog éygvov, xa tig et xat tig mad yiry. 
of the solution of the first trochee of the polyschematist form : 
in the first foot : GOV éxovow QUTOY cel wore 70 HEQuvay. 
in the third: xal yao “atm yatay TH ye HUKG MEPVAEY CUIEl. 
of the spondee in the first place of the ditrochee: 
in the first and second foot: 
Avraozea yao 200g maow 7Oory dixie. 
in the third: 
>A , , > 5 ed ‘ Io? 
Upoteoa weve ove oldEv* EotyxEv yao ovdE?r. 
Plautus sometimes resolves the arsis, as Aul. IIT. 2. 24. 
Mearum aédium et cénclavium mihi pérviam facitis. 


216 IONIC STICHIC VERSES. 


He has also the molossus in the first foot, as Amph. I. 1. 15. 
Quo facto aut dicto adést opis quiétus né sis, 
and the dispondee for the ditrochee : 
in the first foot, as Stich. I. 1. 4. 


De nostris factis néscimus, quarim viri hinc absunt. 


in the third, as Stich. I. 1. 2. 


Quae tam diu vidua caruit vird, nam nos ejus Animum. 


C. JTonici a minore. 


(1) -+=-++=- 


Dimet. acat. 


Versus Anacreconteus. 


The Anacreontic verse occurs, according to P. 2. ch. 4. 
p. 148, in a threefold form: 


(a) In the pure form: ~~ --~-- = 
7 , 4 , 
STEPUVOUS MEV ZOOTACTPOLOW. 


(b) In the polyschematist: ~~ ---~-~ 
"ATOQINTOVT ML MEDIAL. 
; ie 
(c) In the broken: ~~--~-»+-~ 
Meoorvztiog 20 mous. 


Of these three forms the third is the most frequent. Many 
of the poems, handed down to us under the name of Ana- 
creon, consist of nothing but such broken lonics, as Carm. 
TID (2 Mehlh.), TV (A ), VII (x9), XXIT (0), XXVUI (té’), 
XLII (f°), XLIV be XLVI ( (x0 4, SLY LNs); OLA 
(x0 t), L (ve'), LXIV Fragm. I (79"). Nee of these poems 
may be divided into strophes. 

»In other poems all three forms alternate, but the third is 
always the most frequent, as in Carm. V (up'), VI (ue’), 
XXIT (1 4G XXIX (1s"), ee ), XXXVIL (wd), XX XIX 
(un), XLI (As"), XLII (uw), LI (95’), LIT (#7), LIL (vy’, 16), 
LIV (9). 

The pure form occurs exclusively in a fragment of Ana- 


creon in Athen. XV. p. 671. E. and 673. D. 


wo 
ai 
~ 


IONIC STICHIC VERSES. 


\¢ WA ¢ , 
O Meytorys o giiopowy 
, \ ~ 2 A 
Agua dn pyres, eerdy 
~ , , \ 
LStepavovtat te hvyw zat 
Tovya miver pedmd€e, 
and in Aleman, also, according to Hephaestion : 
Cary \ \ \ CaN 
rzatoOv WEv Atos viot 
Tude Moca zooxomerdor. 
But these fragments may just as well be parts of ionic 
systems. 
The anacrusis of the first ionic appears rarely as a long: 
in the pure form, as V. 2. 


M&opev Avoca, 
in the polyschematist, as XXXVI. 11. 
Tiyy woz mov xa0woor, 
in the broken, as VI. 14, 16. 
Kai ze nokng Kvdio78. 
Kopor péretor yaioor. 
In the broken form the arsis occurs but rarely resolved, as 
XLUTI. 8. 
Xv 58 pihws ei yewoyor. 
The resolution of the second arsis is more frequent, as 
Vio. Viea XARVEL. 6 
Tlivoper cBoe yehoveres. 
MeOvouer aBoa yelovrres. 
"1de, TOS yéouvosg OdEvEt. 
The third foot is never permitted to be a spondee, in the 
broken form; hence verses like XXV. 9. 
Luv 7H Se wivew yuas, 
are spurious or corrupt. 
The verse has, on account of its shortness, no fixed diae- 


resis. The pure form, however, delights in a diaeresis after 
the first ionic. 
_A peculiar kind of Anacreontic is the form with the iambic 
basis : —) ~ 
It might be derived from the above forms, if we were to 
assume that in the broken form the dissyllabic anacrusis is 
19 


218 IONIC STICHIC VERSES. 


contracted into along, and then to use the liberty of putting a 
short in its place. But since most poems, which have this 
rhythm, consist of pure iambs, and do not allow either the 
dissyllabic anacrusis or the pure form with the monosyllabic 
anacrusis,* Pee aha ee 


Se ee WY OY es oe 


the verse seems to be rather a tetrapodia tamb. catal.; com- 
pare above. 

There are remaining several more Anacreontic poems, 
which can be arranged under neither of the above men- 
tioned forms. These are either poems of a very late period 
in political verses, as XVII (0°), XXIV (27), or they must 
be otherwise measured, as XXV (17’). 

‘Otay mi Tov olvor, 
EvSovew ai weora. 
Ti wot mover, Ti pot YOY, TE Wot MELEL MEQILPOY ; 
Ouveiy we dei, za wy Oho ti tov Ploy mhavouc ; 
Tloer ovy tov oivor 
Tov tov xadov Avaiov. 
The last two verses : 
Sov tH Oé mivew yuas 
Evdovew ai wsoumret, 
appear to have been added by a later writer. 
The following poems may serve as examples: 
Carm. XLVIII ((’) 
Aore wor vony Onjoov 
Doving tvevde yood;ys. 











* Carm. XXX (e9’), the metre of which is apparently a dimet. ionic. 
with a monsyllabic anacrusis, consists in fact of Pherecrateans with 
a spondaic basis : 

x / ~ 


Se ed 


oO 
¥ 


c ~ ? 
At Moto tov “Eoutu 
Ajoaca oregdvoroe 
To Kdlher roadway 
Carm. XXIII (40’) 16: telety tev ?Agoodirar, like the foregoing, is 
not genuine. , : 
m « >. ep F f , fxs 
Carm. XXVI (us’), orav 6 Bdxyos ergéhOn ‘Iormann changes into 
oray Bdxzyog écédGy. The whole poem, ‘wever, is a cento of 
Anacreontic and other verses, belonging to a later time. 


YONIC STICIIIC VERSES. 219 


Déoe por xvmEehia Vecuor, 
, , 

DépeE ot voMovs xEQaCOO. 

Medvwv.onws yooevoo, 

AS ‘ , N , 

Y20 owgoovog de Avoons, 

Mera Baopitwr aeidoor, 

To zagoinor Bojow. 

Aore por Avony Opjoov 

Doving avevOe yoodns. 

Carm. XX XVII (ud) 

AT© od , >) 

[de mmHg pavertos 1700S 

Xaorteg G05a Bovovow: 

1de nog xoua Oudacors 

‘Anadvveta yaryvy: 

[de mHg vyooa xohuuBa* 

” ~ , c , 

de 20g yeouvos odevet. 

"Agelas & ghauwe Titar: 

Negehov oxvat Sovovvrat. 

Ta Bootor 8 Ehauwer Eoye: 

Kuenoic ydia mooxvatet. 

Booniov orpaper tO vauc 

Kata pvrov xara xhova 

Kadshov nvdwwe xaos. 


ee f 
(2) vea-~e- 
Dimeter catalecticus. 
According to Hephaestion, Timocreon wrote an entire 
poem in this metre: 
dinedog ZOMWOS evo 
TTozi tay parke Epa. 
Foot , in 3 fae 
Trimeter acatalectus. 
According to Hephaestion, used by Sappho: 
i ‘ ®) , , 
Tt pe Lardvorig weava yehoour. 


() 
rh) 
S 


IONIC STICHIC VERSES. 


d fad oF / 


(4) ir oy gee eee 
Trimeter catalecticus. 


Anacreon : Avorvoov caiion Bascugises. 


(SAE / Maa A 08: / 
(5) vy --+~--|~~--~~-— pure form. 


v 
1 Sant ef Leman TA 


vy —-—-—v——|+~—-—--~-— polyschematist form. 


/ / 
vy ovov——|~y—v—~+— broken form. 
Tctrameter catalecticus. 
Galliambus. 
This verse was used by the Greeks and Romans, particu- 
larly in poems to Cybele. 
The pure form is not rare among the Greeks, as, 
TIpoqavas tovto Sidaoxar, anodvay Bioriy. 
The anacrusis of the first ionic was sometimes contracted : 
Taddai, uytoos ogetys Gu.odveco Sooucdes. 
In the broken form the first half verse always closes with 
the Jong, as, 
Doig ovu Woxe wooyo Lahov “Anis orome. 
The second foot is very often resolved in both half-verses : 
= Vv a = 7 a 
’ Aig vten martayeitar 20 yoduEec uootada. 
The diaeresis after the second ionic is strictly observed. 
Among the Romans, Varro, in his satires, and, according 
to Atil. Fortunat. p. 2677, Maecenas also (Anthol. Lat. I. 
p. 53) used this verse. Catullus (Carm. LXIII.) has also 
Galliambs. He always uses the broken form, with the ex- 
ception of V. 54, where the first dimeter retains the pure 


form: 
Et earum omnia adirem furibunda latibula, 


and V. 60, where the second half verse appears pure: 
Abero foro, palaestra, stadio et gymnasiis. 


IONIC STICHIC VERSES, pH | 


The first arsis appears three times resolved, V. 23, 48, 70. 


Ubi capita Maenades vi jaciunt hederigerae. 
Ibi maria vasta visens lacrimantibus oculis. 
Ego viridis algida Idae nive amicta loca colam ; 


the second arsis more frequently, as V. 27. 
Simul haec comitibus Atys cecinit notha mulier. 
The first and second arses are seldom resolved, V. 63. 
Ego mulier, ego adolescens, ego ephebus, ego puer. 


The anacrusis of the first ionic is found contracted nine 
times (V. 5, 15, 17, 26, 40, 67, 73, 77, 86), and then all 
the resolutions of the arses of the first half verse disappear, as, 


Devolvit illa acuto sibi pondera silice. 
Sectam meam exsecutae, duce me, mihi comites. 


An exception is made in V. 77, in which the second arsis is 
resolved : 
Laevumque pecoris hostem stimulans, ita loquitur. 


The final syllable of the first half verse is throughout long. 
In the second half verse, the anacrusis of the first foot is 
sometimes contracted (V. 18, 22, 34, 73, 83, 86): 


Hilarate herae excitatis erroribus animum. 
Tibicen ubi canit Phryx curvo grave calamo. 


The second arsis appears almost always resolved, with the 
exception of V. 35, 73, 76. 


Itaque, ut domum Cybebes tetigere lassulae. 
Jam jam dolet, quod egi, jam jamque poenitet. 
Ibi juncta juga resolvens Cybele leonibus. 


Catullus observed the diaeresis strictly. In V. 37 an 
elision falls upon it: 
Piger his labantes languore oculos sapor operit. 


As an example take the passage in Terentianus Maurus, | in 
which he describes this measure: 


Sonat hoc subinde metro Cybeleium nemus, 
Nomenque Galliambis memoratur hinc datum, 
Tremulos quod esse Gallis habiles putant modos, 
Adeo ut frequenter illum prope ab ultimo pedem, 
Mage quo sonus vibretur studeant dare tribrachyn. 


19* 


pai) | DISTICH COMPOSITION. 


Cid APG ae oe 
DISTICH COMPOSITION. 


Distich composition consists in the combination of a longer 
and a shorter verse into one whole (P. 1. c. 9. p. 34). The 
shorter verse either precedes the other as an introduction, 
proode, or follows it as a conclusion, epode. As the Jat- 
ter is more frequently the case, this kind of composition is 
called also the epodic. As among the verses used by the 
line the hexameter is the model for all Jater compositions, so 
here is the elegiac distich. Several verses used in distichs 
were treated as asynartete. 

The distich kind of composition was chiefly used by the 
gnomic and elegiac poets, the Ionian lyric poets (Archilochus, 
and after him Horace, especially in the Epodes), the satir- 
ists and the epigrammatists. Traces of the same are also 
found in the dramatists, as Aesch. Agam. 1343—1346. 


A. "Quot, némdnywo xaipiay mdyyny Eo. 
H. Siva: cic mdyyiy avrei xaiping ovtacpevos ; 
A. Quo wad? avdig, Sevtégay mendnyperos. 
} i Heed A > Ua t ~ LA 2 ie 
1. Tovoyor sioyacd at Soxzet pot Pactdews ouwymatt. 
Terent. Andr. II. 1. 1, 2. 


Quid ais, Byrria? daturne illa Pamphilo hodie niptum ? — sic est. — 
Qui scis ?— apud forum mode e Davo audivi— vae misero mihi. 


v. 5—8. 


Quaéso edepol, Charine, quando non potest id fieri quod vis, 

Id velis, quod possit —nil volo aliud nisi Philamenam, — Ah 
Quanto satiust te id dare operam, qui istum amorem ex corde ejicias ; 
Quam id loqui, quo magis lubido fristra incendatur tua. 


Compare Plaut. Menaechm. V. 6. 1—6, where acatalectic 
and catalectic bacchic tetrameters are combined with each 
other by distichs, and Plaut. Bacch. IV. 10. 1—9, where 
acatalectic and catalectic anapaestic tetrameters alternate 
with each other. 

The most important combinations by distichs, which we 
arrange according to the rhythm of the principal verse, are 
the following : 


TROCHAIC DISTICH RHYTHMS.—IAMBIC. 223 


I. OF THE DOUBLE KIND. 


A. Trochaic Rhythms. 
é yw 


(1) -+-+-»= 


— / _— 7? ~~ 


vevev[ avo 


Trochaicum.—Metrum Hipponacteum. 


The proode consists of a tetrapodia trochaica catalect., 
the principal verse of a monometer troch. cum anacrusi with 
an ithyphallic following. 

Horace uses the distich, Carm. IT. 18. 


Non ebur neque aureum 
Mea renidet in domo lacunar, 
Non trabes Hymettiae 
Premunt columnas ultima recisas 
Africa, neque Attali 
Ignotus haeres regiam occupavi etc. 
The anacrusis in the second verse, excepting V. 6 and V. 
34, is always short. A resolved arsis is found only once, 


V. 34. 


Regumque pueris, nec satelles Orci. 
The diaeresis before the ithyphallic is always observed. 


B. lambic Rhythms. 


VA / / 


(ase tcvenatewe 


v2 _ 


— Mee Oe 


The principal verse is a trimeter iamb. acat., the epode an 
° A > 
ithyphallic. 
Simonides : 
ee PED) 5G. eS: (é \ , 
Olov tod yuiy EomEtOY MAQENTATO 
Ziv ALALOTOP. 
e) , > » ia ~ 24 , 
AV iLYET , HVAYETE KOMOY, EVOLZMOLEY 
To 0s@ mowsize * 
EG ELet yg 0 Oe0g 00908 EG PVOWMLEVOS 
\ 
Ave peoov Badifew. 


224 IAMBIC DISTICH RHYTHMS. 


- 7 — 7 —-; 


(2) ke 
— ¢ — i; v 


Se ee ee YY Oe 


Tambicum senarium quaternarium. 


The principal verse is a trimeter iamb. acat., the epode a 
dimet. iamb. acat. 


Archilochus : 
Tlateg Avia, motor epocow rode 5 
Tis cas maojewEr poevas § 


Horace used this distich in the first ten Epodes. As an 
example take Epod. II. 1—8. 


Beatus ille, qui procul negotiis, 
Ut prisca gens mortalium, 
Paterna rura bubus exercet suis, 
Solutus omni foenore, 
Neque excitatur classico miles truci, 
Neque horret iratum mare, 
Forumque vitat et superba civium 
Potentiorum Itmina. 


Feet of three syllables, tribrachs, dactyls, anapaests, some- 
times occur in the trimeter, as Epod. I. 27. II. 35. V. 
15. 49. 


Pecusve Calabris ante sidus fervidum. 
Pavidumque leporem et advenam laqueo gruem. 
Canidia brevibus implicata viperis. 

Quid dixit? aut quid tacuit? o rebus meis ; 


in the dimeter more rarely, indeed only three times in all the 
ten Epodes: II. 62. Ill. 8. V. 48. 


Videre properantes domum., 
Canidia tractavit dapes. 
Canidia rodens pollicem. 


The hiatus Epod. V. 100, is to be noted: 
Et Esquilinae alites. 


The trimeter has the usual caesura, the dimeter no fixed 
caesura. : 


IAMBIC DISTICH RHYTHMS. 


225 


A trimet. dact. cat. in syllabam follows the iambic trime- 
ter as an epode. 


Archilochus: 


Epéa tw bu aivor, © Kyovxidn, 
Ayre ouutaan * 

T1Inx0g ye Onoioy anoxovdets 
Movvog ay éoxutiny. 

TO 8 ag dion’ zeQdadén ovrgrteto 
Ilvzvov éyovoa voor. 


4 


Ce 


ao “ —~*7 =— 7 


/ = ih Y 


RP I) 


Archilochium tertium. 


An iambic trimeter is followed by a verse composed, in 
the asynartete mode, of a trimeter dact. cat. in syllab. and 
dimet. iamb. acat. Horace has this distich, Epod. XT. 
Pecti, nihil me sicut antea juvat 
Scribere versiculos amore perculsum gravl, 
Amore, qui me praeter omnes expetit 
Mollibus in pueris aut in puellis urere. 
Hic tertius December, ex quo destiti 


Inachia furere, sylvis honorem decutit etc. 
The trimeter sometimes has feet of three syllables, V. 23 
and 28. 


Nune gloriantis quamlibet mulierculam. 
Sed alius ardor aut puellae candidae. 
In the dimeter the arses are nowhere resolved. 
In the second verse, at the junction of the series, the short 
stands three times for the long, V. 6, 10, 26. 
Inachia furere, sylvis honorem decutit. 
Arguit et latere petitus imo spiritus. 


Libera consilia nee contumeliae graves. 


226 IAMBIC DISTICH RHYTHMS. 


and the hiatus occurs twice, V. 14, 24. 


Fervidiora mero-arcana promorat loco, 
Vincere mollitia-amor Lycisci me tenet. 


The diaeresis after the dactyl is always observed. 


ee ee ee Yee 


An Alcaic verse (dactyl. logaoed. duplex. dupliciter troch. 
acat.) follows the iambic trimeter as an epode. 
Phaedimus : 
Tokov per, » Mtyavtos ohecag oPévos, 
“loys Bing éxdeoy uvdoowr. 
Ov cot poston were Lux0zt0v08, 
Tovde 8 én 70 €o1g otot0r 
Srpepev Lowtos, trope &deSovra matoy 
Qagcaudcor pi.orate xovowr * 
Tlvpog yao ahun, nat Veov vaéotatos 
Aiéy oSe moomazous asker. 
Mehotiovos 509 mutoaior o&Bus 
Syowisoy exinon Sey Oa. 


_—/ _-7 -/ 


(6) saves So ee 


A Phalaecean follows the iambic trimeter as an epode, 
Theocr. Epigr. XVI. 
~ \ 5) , ~ a ed 
Oacut tov ardo.arta tovror, w Seve, 
~ AY I 
Sm0vdG nat hey, Emav & olxov evn, 
> , Te wae} . ai 5) +? 
Avaxocortos etxov etdov ev Téa, 
~ , ” > ~ 
Tor 20008 ett mEguccor donor, 
4 ny ° _ , 7 A 
TIooc deg be yore tots veotow adeto, 
») ~ > , ga A y+ 
Egsis atoexéws odov tov uvdoa 


IAMBIC DISTICH RHYTHMS. 227 


/ / Cae lie —— 


(ieee ees rats 


vw 


WS me YS ie OY ies Ve 


The principal verse is a trimeter iamb. claudus, the epode 
a dimet. iamb. acat.: Martial. Epigr. I. 62. 


Verona docti syllabas amat vatis, 
Marone felix Mantua est; 

Censetur Apona Livio suo tellus, 
Stellaque, nec Flacco minus: 

Apollodoro plaudit imbrifer Nilus ; 
Nasone Peligni sonant etc. 


A peculiar construction occurs in Theocr. Epigr. X VIL. 
It consist of five distichs, of which 1, 3, 5, are combined of a 
tetrameter troch. cat. and an Adonius with the anacrusis, 
which in V. 10, is also of two syllables, but 2, 4, are composed 
of a trimet. jamb. acat. and an Adonius with the anacrusis. 


en AS 


7 \ #: ¢ Bt 4 ¥ ig 
A te pore Apis: yorqo, 0 Tay xommdieyr 
E ¢ \ i ifs 2% 
vowr, Emyaouos. 
sf , hae: , b) 5. 73 ~ 
2 Buxye, yadzeoy vw art adadiwov 
aoe 
Tiv 0d ave dnuay. 
‘ ? ~ , 
Tot Svoaxocoag evidoveta medwosis tz 70LEt, 
7) Dp) A , 
Ow ardot moire, 
x , , 
LHOOY YAO ELLE YONMATOY, MEUPUMEVOL 
Teheiy éizeipa. 
\ \ \ 4 Bes A 5 , 
TTohha yuo mortar Cway toig mao se YOYOMME. 
7 ~ 
Meyoda yao avr. 


228 DACTYLIC DISTICH RHYTHMS. 


II. Or THE EQUAL KIND. 
Dactylic Rhythms. 


4 - 


(1) Seas NP Na taal NA ND weg Oa NP aes SIND ocr IND IN et SD, 


—_—~S; — Sy ‘4 


Pythiambicum primum. 


Horace uses this distich consisting of an heroic hexameter 


and a dimet. iamb. acat., Epod. XIV. and XV, as XV. 


Nox erat et coelo fulgebat luna sereno 
Inter minora sideta, 

Cum tu, magnorum numen laesura deorum, 
In verba jurabas mea, 

Arctius atque hedera procera adstringitur ilex 
Lentis adhaerens brachiis ; 

Dum pecori lupus et nautis infestus Orion 
Turbaret hibernum mare, 

Intonsosque agitaret Apollinis aura capillos, 
Fore hunc amorem mutuum etc. 


The dimeter has a trisyllabic foot only once, XV. 24. 


Ast ego vicissim risero. 


va _ 
(2) eee NN ae NAR as NN PA I Nn 
/ v 


Archilochium primum. 


The hexameter as the principal verse is followed by a 
trimet. dact. cat. in syllabam, as an epode. Horace has this 
metre, Carm. [V. 7. 


Diffugere nives, redeunt jam gramina campis 
Arboribusque comae: 

Mutat terra vices, et decrescentia ripas 
Flumina praetereunt ; 

Gratia cum Nymphis geminisgque sororibus audet 
Ducere nuda choros. 


DACTYLIC DISTICH RHYTHMS. 229 


Immortalia ne speres monet annus, et almum 
Quae rapit hora diem etc. 


Vata ev | eee 


Archilochium secundum. 


The epode consists of a dimet. iarnb. acat. and a trimeter 
dactyl. cat. in syllab. Horace uses this distich Epod. XIII. 


Horrida tempestas coelum contraxit, et imbres 
Nivesque deducunt Jovem ; nunc mare, nunc siluae 

Threicio Aquilone sonant; rapiamus amici 
Occasionem de die ; dumque virent genua, 

Et decet, obducta solvatur fronte senectus. 
Tu vina Torquato move consule pressa meo etc. 


The iambic series is connected in the asynartete way with 
the dactylic: hence in V. 8, 10, 14, the short also stands for 
the last long of the dimeter : 


Reducet in sedem vice, nunc et Achaemenio, 
Levare diris pectora solicitudinibus. 
Findunt Scamandri flumina, lubricus et Simois. 


The diaeresis after the iambic dimeter is always accurate- 
ly observed. 


AE age eS pa en ee) 


Pythiambicum secundum. 


The epode is a trimet. iamb. acat. Horace uses this 
measure Epod. XVI. 


Altera jam teritur bellis civilibus aetas, 
Suis et ipsa Roma viribus ruit: 

Quam neque finitimi valuerunt perdere Marsi, 
Minacis aut Etrusca Porsenae manus, 

Aemula nec virtus Capuae, nec Spartacus acer, 
Novisque rebus infidelis Allobrox etc. 


230 DACTYLIC DISTICH RHYTHMS. 


The iambic trimeter is preserved pure throughout, and a 
resolution is nowhere found. 


ae Meer NM ev YY 


Alcmanium. 


The epode is a tetramet. dact. cat. in disyllabum. Ho- 
race uses this measure Carm. I. 7 and 28, and Epod. 
XII. as 

Laudabunt alii claram Rhodon aut Mytilenen 
Aut Ephesum, bimarisve Corinthi 

Moenia, vel Baccho Thebas vel Apolline Delphos 
Insignes, aut Thessala Tempe ; 

Sunt quibus unum opus est, intactae Palladis urbem 
Carmine perpetuo celebrare etc. 


In Epod. XII, the second dactyl in the tetrameter is three 
times contracted into a spondee, V. &, 14, 22. 
Crescit odor, cui pene soluto, 
Inachia langues minus ac me. 
Cur properabantur ? tibi nempe. 
In Carm. I. 28, the tetrameter has frequently spondees, 


not only in the second, but also in the first, and V. 2, even 
in the third foot. 


Mensorem ccohibent, Archyta. 
In V. 24, the hiatus is found in the third arsis: 
Ossibus et capiti inhumato. 


The tetrameter has no fixed caesura; in Carm. I. 7, espe- 
cially from V. 15, probably the beginning of a new ode, the 
caesura after the second arsis prevails. 


Me ee 


Distichon elegiacum. 


The epode of the elegiac distich is the pentameter elegia- 
cus, so called. It originated in the heroic hexameter, inas- 


DALTYLIC DISTICH RHYTHMS, p34 | 


much as the thesis of the third and sixth foot is occupied by 
a pause; hence the diaeresis after the third arsis is necessary. 
As it therefore consists of twice two and a half dactylic feet, 
it was called the pentameter. According to the erroneous 
opinion of some grammarians, it is so called because it 1s 
composed of two dactyls, a spondee and two anapaests. 

The diaeresis after the first trimeter ts always strictly ob- 
served; only once in Callimachus it is neglected in a proper 
name: 

Teok vor b& Atoguovetdew yeven. 
An elision does not remove the diaeresis, as Meleag. XII. 4. 
Tov toimavovoyor “Eowt éniacev ev xoadia. 


Catull. LX VIII. 82, 90. 


Quam veniens una atque altera rursus hiems. 
Troja virum et virtutum omnium acerba cinis. 


The Greeks allowed themselves, though but seldom, the 


hiatus in the diaeresis and the short for the long, as Theogn. 
478, ed. Bekker, 992, 2. 


Ovzre tt yao via ovtE Lijy pEOvoo. 
Xawjoas. Strata dddote cddog ar7o. 
Ajcond aoyouerog 0vd arcomavomeros. 
Sappho: HouoxdeiSao 7 Laovaiada. 
Many verses in which this occurs are, however, corrupt ; 
comp. Friedemann de media syllaba pentametri Graeci. 


A verse in which every foot ends with a word, is bad, as 
Theogn. 456. Catull. LX XVI. 8. 


Ovzms, womeg voy ovdevog aki0g et. 
Aut facere, haec a te dictaque factaque sunt. 
For the first two dactyls of the pentameter, spondees may 


also stand; the last two complete feet must always be dac- 
tyls, as Ovid. Amor. IIT. 15. 


y. 2. Raditur hic Elegis ultima meta meis. 

v. 4. Nec me deliciae dedecuere meae. 
v.12. Moenia, quae campi jugera pauca tenent. 
v.18. Pulsanda est magnis area major equis. 


It is considered more elegant if a spondee follows the dac- 
tyl, than the reverse. 
The Romans, especially Ovid and the other elegiac poets 


332 DACTYLIC DISTICH RHYTHMS. 


of the Augustan age and later, like best to close the pen- 

tameter with a word of two syllables, which however in Ovid 

seldom ends with a short vowel, as Heroid. II. 152. 
Pergama, materiam caedis ab hoste pete, 


but commonly with a long vowel or consonant. Tibullus and 
Propertius, and especially Catullus, are less careful in this. 
Words of three, four and five syllables are more rare in 
Ovid, as Pont. I. 8. 40. 

Quolibet ut saltem rure frui liceat. 
A tiete V1, 

Quem legis, ut noris, accipe, posteritas. 
Trist. [V..5. 24, 

Indeclinatae munus amicitiae. 

The harshest is a word of three syllables coming at the end, 
because then the last arsis but one falls on the final syllable 
of a word, which is contrary to the Latin accentuation. Yet 
Catullus often closes the verse in this manner. The harsh- 
ness is softened, when a monsyllable precedes the final word, 
as Catull. LXV. 8. 


Ereptum nostris obterit ex oculis. 


A monosyllable is not readily admitted in the middle or at 
the end of a pentameter, as Catull. CUI. 2. Ovid. Pont. I. 6. 
26. 


Ambobus mihi quae carior est oculis. 
Omnis an in maenos culpa deos, scelus est. 


The monosyllabic word is less offensive, when another pre- 
cedes it, as Ovid. Pont. I. 6. 46. Fast. VI. 550. 


Magna tamen spes est in bonitate dei. 
Nomina mutarunt, hic deus, illa dea est. 


It is usual to close a thought at the same time with the 
distich; several distichs, however, may form a period. 

Both half verses are usually closed with two words that 
belong together, as Ovid. Art. am. I. 13 sqq. 


Qui toties socios, totius exterruit hostes, 
Creditur annosum pertimuisse senem, 

Quas Hector sensurus erat, poscente magistro, 
Verberibus jussas praebuit ile manus. 


The elegiac distich is by its nature excluded from the 


drama. Euripides uses it only once, Androm. 103—116, in 
a passage where the elegiac subject seems to require it. 


DACTYLIC DISTICH RHYTHMS. on 


According to Athen. XIII. p. 602. C. Dionysius of Athens, 
surnamed the Brazen, used the pentameter as the proode of 
the hexameter, for which however it ts less suited : 

Evdaiuorv Xagizav xat Medavnanog equ 
Osiag ayyrtnoss EPaupeplowg Pioratos. 

The pentameter is used by the line only among the later 
poets, as by Heliodorus, Aethiop. HI. p. 129. ed. Commel., 
by Philippus of 'Thessalonica, Epigr. 1V (Brunk. Anal. Tom. 
IT. p. 212), by Ausonius, Sentent. VII. sap. Thales, and 
Martianus Capella. In Virgil’s epigram : 


Hos ego versiculos feci, tulit alter honores ; 
Sic vos non vobis fertis aratra boves, 
Sic vos non vobis vellera fertis oves, 
Sic vos non vobis nidificatis aves, 
Sic vos non vobis mellificatis apes, 


the repetition of the pentameter produces a comic effect. 


A 


(7) wee OY ee Oe YO ee i ae OY ee 


A 


FTN ss SIRF RN res FN cae CA INS oe 


The epode is a hexameter petovgog. According to Te- 
rent. Maur. p. 2425, Livius Andronicus used these two 
verses combined in the Ino; but the verses which he cites 
are certainly not by Livius: 

Et jam purpureo suras include cothurno, 
Balteus et revocet volucres in pectore sinus, 
Pressaque jam gravida crepitent tibi terga pharetra 
Dirige odorisequos ad certa cubilia canes. 


_ _— vA — 


/— 


— / — / — 


ee ee 


Archilochium quartum. 


The principal verse consists of a tetrameter dact. acat. 
with an ithyphallic, sometimes perhaps combined in the 
asynartete manner. ‘The epode is a monometer trochaicus 


cum anacr., followed by an ithyphallic. 
20* 


234 DACTYLIC DISTICH RHYTHMS. 


Archilochus : | 
~ \ , \ A 
Toiog yao piorytos tows va0 uaodinr Ehiy Pets 
\ >} > \ > , oy” 
TToddny vat ayhoy oupator eyever. 
Simonides : | 
‘4 >) \ / > , 2: TEX eRe) ? 
Mrnoonat, ov yao éoxer avovepor evOad ‘Aoyevavteo 
ae ~ > \ + 
Keioda Oavovoar ayhauy axoww, 
> ¢c € , 
Sarvdinayy [lequerdoov anézyoror, og 200 vibimveyou 
Ljuawe Laois téou eyor KooirGov. 
Horace has this distich, Carm. I. 4. 
Solvitur acris hiems grata vice veris et Favoni, 
Trahuntque siccas machinae carinas. 


Ac neque jam stabulis gaudet pecus, aut arator igni; 
Nec prata canis albicant pruinis. 


The dactylic tetrameter has the caesura Ev ONUMEONS, and 
besides this, the ithyphallic is separated from it, and from 
the trochaic monometer by the diaeresis. The fourth foot 
of the dactylic is never a spondee; but the third is very 
frequently. 


/ / ae 


— / A _— 


Nee NO amet! (SF Siege SASS geen SS Vora BNP NI) 


The principal verse is like that in (8); the epode is a mo- 
nomet. troch. cum anacr. with a following logaoedicus dac- 
tyl. dupléx dupliciter troch. acat. 


Simonides : 

Tloldan by priig “Anauarzidos év yoooiow ‘Qoa 
‘Arwohodvéay xiccopogos ext SuveaupBors 

Ai Avorvorades, pizoator Sé nai 60Sor Goro 
Logar aowar eoxlacav hinaoay EAepar, 

Ot code toim0da oguot udotvea Buxyior u€PLov 
Oxjxarto. xstvovg 0 ‘Avtyeryg edidaczer avdoas, 

Hote As 


In the principal verse the diaeresis is once neglected in a 
compound word: V. 9. 


Tov éoonyycev xvxdov pediynovy Inmornos. 


DACTYLIC DISTICH RHYTHMS. ya's 


In the epode, the trochaic rhythm is always separated 
from the dactylic by a diaeresis. 


7 , — 
2 a) — 
een SS ee VY OU ee VY ee VY oe V 


v 


The principal verse as in (8); the epode is a Phalaeceus 
hendecasyllabus. 


Callim. Epigr. X LIT. 
Teogy Anuntoos éyo mote, nai mahi KaBetoor, 
"Qvreo, nai pmecémeita Awdupyrys. 


X— 7 _- 
(11) mea prs eee 


v 


L cay = 


The prodde is a Palaeceus hendecasyllabus; the principal 
verse as in (8). 
Theocr. Epigr. XVIII. 
‘O wixnog TOS” Etevse TH Oosioon 
Mndewog to pra emi ta 080, unneyouwse Kisiras. 
"EEEt THY YAOW & YUVA GYTL THVOY, 
‘Qy cov xooor EXoewe. ti pwyy 3 Ete onotua xadsizas. 


ee 


ie Z. — 


es NENA Me NPT es Fe RI AF ae 


The prodde consists of two ithyphallics with an anacrusis 
prefixed; the principal verse as in (8). 
— Callim. Epigr. XLL. 
Anuyjrot th Uviain ty tovtor ove TehLacyow 
"Axpicws tov vyov eeiuato, TAO 0 Navugatizys. 


236 DACTYLIC DISTICH RHYTHMS. 


(13) eae 


/ / / = 


Sapphicum maus. 


The proodde is a dactyl. logaoed. simplex dupliciter tro- 
chaicus acat.; the principal verse consists of a monometer 
troch. acat., a choriamb, and a dactyl. logaoed. simplex du- 
plic. troch. acat. or a dimet. choriamb. with a logacedic 
ending. 

Horace uses this distich, Carm. I. 8. 

Lydia, dic per omnes 

Te deos oro, Sybarin cur properas amando 
Perdere ? cur apricum 

Oderit campum, patiens pulveris atque solis? 
Cur neque militaris 

Inter aequales equitat, Gallica nec lupatis 
‘Temperat ora frenis ? 

Cur timet flavum Tiberim tangere? cur olivum 
Sanguine viperino 

Cautius vitat? neque jam livida gestat armis 
Brachia, saepe disco, 

Saepe trans finem jaculo nobilis expedito ? 
Quid latet, ut marinae 

Filium dicunt Thetidis sub lacrimosa Trojae 
Funera, ne virilis 

Cultus in caedem et Lycias proriperet catervas ? 


In the prodde there is after the dactyl a diaeresis; in the 
principal verse, a caesura after the first arsis of the choriamb, 
and the diaeresis after the second arsis of the same. 

In the trochaic dipody the second foot is always a spondee. 


/ / = 


(14) i el 


v 


if ~—- / 

The prodde consists of two logaoedic series, namely, a 
dactyl. simplex tripliciter troch. cat. and a dactyl. simplex 
duplicitur troch. cat.; the principal verse of a dactyl. simplex 
tripliciter troch. cat. and a dactyl. duplex dupliciter trochai- 
cus cat. 


CHORIAMBIC DISTICH RHYTHMS. 237 


Scol. apud Ath. I. p. 23, and XI. p. 503. 
lai Telapovos Alay atyuyra, d€yovcl o« 
Es Tooiar cowtor e0eiv Mavacy wer “Ayddéa. 
2 -s ~ ~ ” \ 
ov Telapove mowror, Miarta Sé SevtEegor 
Es Tooiay 2¢yovow &.0siv Mdavawy pet “Ayiddsa. 
Scol. in Dion. Chrys. Or. If. p. 95. 
Lites Loa zady yevoiuyy ehepartinn, 
aula \ ~ we. , b) i 
Kai pe xahot maides poorer Avovvovoy & yooor * 
Ev? dnvoov ualov yevotuny ueya yovotor, 
x UB 2 y) \ \ 7 / A oa A 9 , 4 
al Me xan Yury Qoootn xa0aoov Feuevy voor. 


Ill. Or roe CHORIAMBIC-IONIC KIND. 


x-— 7 - 


Di eae 


xX— / , 


mvavve|oveevn 


Asclepiadeum secundum. 


The prodde is a Glyconic; the principal verse an Ascle- 
piadean, a dimeter choriamb. with the basis and logaoedic 
ending. Horace uses this many times: Carm. I. 3; 1383 19; 
36: LE 9: 153.19; 24; 255-28. IV. 23 3,48, 

Sic te diva potens Cypri, 
Sic fratres Helenae, lucida sidera, 
Ventorumque regat pater, 
Obstrictis aliis praeter Iapyga, 
Navis, quae tibi creditum 
Debes Virgilium, finibus Atticis 
Reddas incolumem, precor, 
Et serves animae dimidium meae. 


In both verses, the basis is always a spondee, the diaeresis 
in the second verse always after the first choriamb; the eli- 
sion does not remove it, as I. 3, 386. III. 24, 52. IV. 1, 22. 


Perrupit Acheronta Herculeus labor. 
Pravi sunt elementa, et tenerae nimis. 
Duces tura, lyraeque et Berecyntiae. 


238 TRISTICH RHYTHMS. 


Carm. I. 13, 6, a short in the diaeresis is used long: 
Certa sede manet, humor et in genas. 
Carm. I. 3, 36, a short is prolonged by the arsis: 
Perrupit Acheronta Herculeus labor. 
Carm. IV. 2, 35, a versus hypermeter occurs: 
Cur facunda parum decoro 
Inter verba cadit lingua silentio. 


In Carm. III. 9, every two distichs form a strophe. 


xXx—/ 
(2) w¥aeenee 


X- 7 / / _ 


See ee ieee YY ee YY eee YY 


The proodde is a Glyconic; the principal verse a trimeter 
choriamb. with the basis and logacedic termination, 
Anacreon : 
4 , 
'Aodes & nvr ano Aevnados 
Tie ne en Ne Venn tye eter 
Ilezons, &5 mokwv xvua xohvupo evar eowtt. 


The combination of three verses into a whole, the compo- 
sition xazv@ zoiczlyov, was tried, though more rarely, by 
epigrammatists. We mention as examples : : 

Simonides in Hephaestion : 


/ 
—vv even —vve—vv—~ hexameter heroicus. 


/ / mg 


—vv-ve—|-~++—~~-— pentameter elegiacus. 


— Sy — yy et id 


vovov—v—+—--— trimeter iamb. acat. 
"Todma, dig Néusa, dig “Qdiumie eorteparadny 
Ov mhatet vino comatos, ULE TEYVE, 
‘Aoisrodaucs Ovacdvs *Adsiog maha. 
Theocr. Epigr. XIX. 


/ + 


—vvavyavv—vy—v—~—~ tetram. dact. acat. c. ithyph. 


anh if PAS 
vev—v—v—+—-— trimet. iamb. acat. 


vevev—v—v—-~ trimet. iamb. cat. 


POLYMETRIC RIYTHMS. 239 


> A ~ \ yh A 
Aoyihoyor nat ota nou EtowWs tov Muda mOITaY, 
ered dst 
Tov tov tour, ov tO proloy x2.€0$ 
~ b) 4 , SN) \ oP Xe} 
Ande xHTML VVATH “aL 7160S KO. 
Anacreon in Athen. XII. p. 533. E. 


7: , ‘2 — 4 


-—vve—eyy i ve a —-— twice. Tetram. choriamb. 


tf, ip Oe 
v—-v—»—~+— dimeter iambicus acat. 
Th A 4) Abs Q id ; 5 A: Vee > b) es oni 
ow wsv yor PEoBsoloy xahvuUaT EGPUZOUEV EL, 
i \ > i Spee! \ \ \ 
Kou Svdtvove coroayadove éy wot, rat WiLov mel 
= \ ) v sr) 
= ~ ~ \ 
IThevojot [dtcojow] Boos 
, dH ~ =} , 
Neomhvtor sthuua xaznge aontSoe, cotommdicw 
pe ( 9 ER 
mao. i: Ls , e \ ) , 
KyVedonoovroisw ouidsov o zoryoos -Aotéuor, 
wry € , 
Kipdsydor evoiczoyr Bior, 
/ 
A A 3 A \ E , A > 2) wo 
TTohLa pev ev Sover tudes avyeva, mokhu 8 & te0xa, 
\ \ 4 , A ?. 
Tlohia 8s vata oxvtiy pasty Oomy Pers, xomjy 
. , , > 
Iloyora t éutetidutvos: 
r~ or -5 Md , , 
Nov § enue outméwr yovorn pogsay xza0<ouata 
~ ig > Sh A 34 ~ 
TTais o Kuzys, nat onvadiouny ehepurtiryy povei 
en oO 
Ivvatsiy avtms -~-. 


Later poets went even farther, and combined longer and 
shorter verses, by which they formed various figures, as al- 
tars, axes, pipes, eggs, wings, etc. As an example take the 
poem Pasiphaé, composed of all the verses used by Horace: 

Filia Solis 
Aestuat igne novo; 
Et per prata juvencum 
Mentem perdita quaeritat. 

Non illain thalami pudor arcet, 
Non regalis honos, nec magni cura mariti. 
Optat in formam bovis 
Convertier vulfus suos 
Et Proetidas dicit beatas 
foque laudat, non quod Isis alta est, 
Sed quod juvencae cornua in fronte erigit 
Fiquando miserae copia suppetit 
Brachiis ambit fera colla Tauri 


240 SYSTEMATIC COMPOSITION. 


Floresque vernos cornibus illigat 
Oraque jungere quaerit ori. 
Audaces animos efficiunt tela Cupidinis 
ilicitisque gaudet 
Corpus includi stabulis se faciens juvencam 
Et amoris pudibundi malesuadis 
Obsequitur votis et procreat, heu nefas! bimembrem, 
Cecropides juvenis quem perculit fracthm manu, 
Filo resolvens Gnossiae tristia tecta domus. 





CHAP TER Lt. 


SY ot BNA Cs  OFMAP:O; Sie AvOENe, 


We understand by ovozjue é& ouoimyr the repetition of one 
and the same series. ‘I'he series, which is repeated, is either 
a simple one, as in the anapaestic, or compound, as in the 
Glyconic systems. It is left to the poet, to repeat the same 
rhythms as often as he pleases; hence there are Jonger and 
shorter systems. 

The single series in a system are intimately connected, so 
that neither the hiatus nor the anceps is allowed: some poets, 
however, especially lyric poets, seen to have treated the sys- 
tems also as asynartete. It is not necessary that a word 
should end with the series, unless it be the closing series. 
The close of the system is rhythmically marked by the cata- 
Jexis or a particular conclusion; metrically, by the admission 
of the anceps and hiatus. ‘The systems are frequently di- 
vided into several parts, and such are called GUT MUTE HOT 
mELOQIGHOLS “Vicovs, to distinguish them from the dzeQu0- 
oiota, Which run on, without interruption, to the end. ‘Two 
or more systems often correspond as strophe and antistrophe : 
OVOTI MET eS onoiwy zara cyéow. The correspondence of an- 
apaestic systems in the dramatists is often used with great art. 

“The Tonian and Aeolian lyric poets were probably the 
first to use systems, and from these the dramatists borrowed 
them. The higher Dorian lyric poetry is unacquainted with 
the use of independent systems; in the artful strophes of 
Pindar, however, and of the dramatists, series systematically 
repeated frequently occur. 


TROCHAIC SYSTEMS. 241 


J. SysTEMS OF THE DOUBLE KIND. 
A Peochaney Systems: 


They were frequently used by the lyric and comic poets.. 
‘They consist principally of dimeters, often, however, so that 
a monometer besides remains. ‘The catalexis marks the close : 

/ ie a: 


— Vv en VY 


— YY oe 


Resolutions of the trochees are permitted. The dactyl is 
allowed in proper names only. ‘The trochaic systems are, 


in comic poets, usually preceded or followed by trochaic 
verses. 


As an example take Aristoph. Vesp. 342 sqq. 
or , 2246 \ 
Tour etohuyo o miaoos yo- 
~ a 
veiv 0 Anuodoyoxdéwy 00°, 
o , li ‘ ~ 
Ort Leyes ov tt mEQt TOY VE- 
~ > , > \ + > 
av alndes. ov yao av mot 
ie GN ~ 
Ovtos arno tovt étohun- 
oev Aéyswy, él 
a, 
My Svrepmorns tg yy. 
Pac. 571. 
sf 
‘ALL avaprnotertes, wvdoes, 
Tis Swaitys tis madhaas, 
a, eee v4 Oe Cee 
ly maosiy avtn nod qui, 
Toy te mahactov exelvor, 
Tor te ovxwr, THY TE MWVOTOY, 
Tig tovyos te tis yhuneias, 
Tig lwriags té ths m00S 
To Gosatt, TOY T ELoLO?, 
% ~ > \ y, 
Qy modovuEr art Tovtoyr 
\ 
Tivde vere 
Tijv Oeov mooceinate. 
The tragedians have not, indeed, independent trochaic 
systems, but sometimes they repeat systematically trochaic 


series as parts of strophes, as Soph. Oed. Col. 1220—1224 ; 
1235—1239, where the ithyphallic forms the close. 
21 


242 TROCHAIC SYSTEMS. 


~ ¢ 
org. Tov Sélovrog: 0 8 énixoveos 
3 
Lootéhectos 
y ge ’ - 
“Aidos, oze Mote’ avvpevoaios 
yw ys =) Ud 
Alvoos azooos uvaméenre, 
Ouvatos é¢ relevtay. 
> 3) , , / 
avt. Kot ptovog: to te xatapeunror 
Emdéoyye 
ft. ‘ , 
TTvpwaroy axpaurées umpooomdoyr 
~ ey if 
hous aqiior, va moonarta 
Kaza xaxnov Svvoei. 


Compare also Eur. Orest. 1001—1004, where the close : 


Movonwdor &¢ 7Ao. 


The tetrapodia troch. cat. repeated systematically occurs 
frequently, as Aesch. Eum. 508—516; 517—525. 
oto. Mydé cig xtxdjoxero 
ZVUpood TETVUMEVOS, 
Tovr éog So00vmevos. 
J 
2 dina, 
D, , o 3 , 
2 Boovrer t “Epwrvor, 
Tavre tg tay av mary 
\ ~ 
'H rexovoe veotadns 
Olxror otxtiour , é7ét- 
by mizver Somos Sixas. 
4 7 3 
avt. “Eo® onov to Sewor ev 
sy ~ 
Kai poser énioxonor 
Asimaret 2a0juEevor. 
vues 
Lwpoovety VO OtEvEl. 
Tig dé under &» past 
Kaopdias av avareepor 
"H nods Boortds 8 ouwoi- 
Bia ANN ¥, o 
wg et av o&€Bot Sixay ; 


IAMBIC SYSTEMS. 243 


B. Iambic Systems. 


They were likewise used by lyric (Anacreon, Aleman) and 
comic poets. They, too, are arranged by dimeters, so, how- 
ever, that frequently a monometer intervenes, usually before 
the closing series. ‘The system usually ends with a tetrapo- 
dia iamb. catal. 


—_— / — 


Ve VM ae VY oe YY 


the last arsis of which is not resolved. Anapaests are every- 
where allowed. Resolutions are frequent. Iambic verses 
usually precede or follow the systems. 
As an example take Arist. Ran. 384 sqq. 
ozo. Anunteo, ayrar ooyior 
"AVUGol, GULMUOUOTATEL, 
Kai cole tov cavris yooor' 
Kot w dopakas marnueoor 
Tlaisai te nai yooevout. 
ave. Kot todha per yéhout we et- 
meiv, toda O& omovdain, nat 
Tis ons éoptans aStas¢ 
Ilaicurta nat oxwarta v- 
HUOUVTH THPVLOVGD ct. 
A peculiar close: 


— +, —_ 


a id 


occurs in the systems Acharn. 835—841, 844—847, 850— 
853, 856—859. 


Ev ceyooe xadnpevos, 

Kav sigiy ue Kryoias, 

"H cuxoparrys adios, ot- 

polar xavedeize. 
_ The tragedians, without having independent systems, some- 
times repeat systematically iambic rhythms, as Eur. Orest. 
995 sqq., where the following rhythm forms the close: 


/ 


ee VM ee VY ee 


2 
Aroéos innopora. 


244 DACTYLIC SYSTEMS. 


Some have endeavored to find iambic systems in the Ro- 
man comic poets, also, as Plaut. Stich. I. 1. 11. 


Spero quidem et volo, sed hoc, 
Soror, crucior, patrem tuum 
Metmque adeo, unus qui tnice 
Civibus ex omnibus probus 
Perhibetur, eum nunc improbi 
Viri officio uti, qui viris 
Tantis absentibus facit 
Injurias imm¢crito. 


Such systems, however, may commonly be measured as 
iambic octonaril, to which a septenarius or an iambic close 
is subjoined. 


II]. SysremMs OF THE EQUAL KIND. 
A. Dactylie Systems: 


The dactylic systems were used by lyric (Aleman, Iby- 
cus, Stesichorus, Bacchylides), tragic and comic poets. 
They consist chiefly of acatalectic tetrameters mixed with 
longer or shorter dactylic rhythms, and often with others also, 
as logaoedic series, anapaests and dochmii. The latter cannot 
properly be considered as belonging to the systems. In ans 
tistrophic poems dactyls usually correspond to dactyls, spon- 
dees to spondees; proper names, however, make an excep- 
tion. ‘The termination is either the catalexis or a particu- 
lar close. 


(a) Systems of the lyric poets. 
Alcman: 
y tated a4 ee , Ld ‘ \ 
Moo, ays, Kadhona, Svyateo Ms, 
elf p] ~ 5] ” 
Aoy soutov enéov, ene 8 egor 
sf ; 2 \ 9 fas oO / 
LUPO Zeb YaOLEVTA THOEL YOOOY. 
Ibycus: 


, : ; 
Evevadhe, yLavztav Xapitwy Oahos, 


Keddzouor weheSnua, o& wer Kozers, 
“Av ayavopiegagos Teva podéoisw &v 
Avdect Ooewar. 


DACTYLIC SYSTEMS. 245 


(b) Systems of the dramatists. 


Soph. Elec. 129—136 ; 145—182. 


STO. 


AaVT. 


sf 
2 veveOLa yevvatov 
‘s , 
7 be J ~ , , 
[yet tuov xapatov mapanvdvor. 
’ \ , yy 
Oida ce xo Evvinus cad, ov ti pe 
Deyyave, ovd eho mookutsty t088, 
\ b) \ a aN ~ [Preface A 
My ov tov éuov otovaysivy matso adhvov 
4 ee 
> Saree: ’ , 5) , , 
AX w mavroias pihotytos ameBousvae yaow 
>] ~ > mo , 
Eure pw od ahve, 
Adlai, ixvovpa. 
? a ~ > ~ 
Nymuog 0g tov olxTeMs 
Olyousvar yoveov émadverat. 
BI] ramee ! fuer Soria c , a ae A 
ALM ius ¥ & OtOVOEGD KOAQEY POEVEaS, 
, 
‘A “Ievv, activ “Itvy oogvestat, 
A 
"Oons arvfoueva, Mos ayyehos. 
: \ » A 
Te narvtiépor NiwBa, os 8 éywye véeuco Feo, 
” , 
"At &y TaD METQAICO 
~ , 
Aiai Saxoveis. 


Aristoph. Nub. 275—290; 299—313. 


O70. 


Aésvao Negéhat, 
Aotoper pavepat Soocegay prow evayntor, 
TIutoos a ‘Qxueavor Bagvayéos 
‘Ywrleav dogo xogupas ent 
Asvdooxomovs, we 
Tylepavets oxomiag aqopoueta, 
Kaonovsg ¢ aodoucvar teoav yOore, 
Kai norapor Cadeov neLadnuara, 
Kai novtov ued adovta Baovpoopor- 
"Oupe yao at0eo0g axauatory cedaystrce 
Maguagéats &y avyaic. 
AML anocewcmercae vé:pos ouBovor 
Avavatas Wéag émdousda 
Tylecx0nm ompate yatur. 
21* 


246 ANAPAESTIC SYSTEMS. 


2 
avt. Taodévor ou8oopegor, 
"EXLO@uer linaoey y9ova T1ahdados, adavdgor ya 
Kexoomo0g owouevaa mohvyoator * 
13 y Saerk € ~ on 
Ov o&Bas aoontor leQur, We 
Lg , 
Mvorodoxzos dop0g 
Ey tehetaig ayia avadelavutat, 
Ovouvriog te Oeoig Sworjuata, 
c ~ \ 
Naot & vweoepets xa ayahwara 
ay KN , ’ 
Kai mp0so0dot waxcowy tegwtat a, 
Evorépavol te Geov Ovolar adic te 
R x, o 
Ilurtodamais & woas, 
oa, npc le FERS Es nee B Raat 
oot éxeozourvyy Boouta yaots, 
» ee tf ~ 3 , 
Luxehador Té yoowr EpEeDioUata, 
r ~ Vf Pd om 
Kat Movoa pagupoouos avior. 
The Roman tragedians, also, seem to have used dactylic 
systems, as Attius: 
Heu vigiles, properate, expergite, 
Pectora tarda sopore, exsurgite. 


Bo Anaepacstic io ystems. 


The anapaestic systems are very frequent with the drama- 
tists. ‘They either precede, interrupt, or follow the chorus- 
es. In many dramas, as Aeschylus’s Agamemnon, Persians, 
Supphants; in Sophocles’ s Ajax, in Rhesus, in Euripides’s 
Hippolytus, and others, the anapaestic systems ‘form the proode 
and mark the entrance of the chorus, for which the anapaes- 
tic rhythm, which was used also as a marching-rhythm, was 
particularly adapted. For the same reason many tragedians 
close with anapaestic systems, which form the exode and 
mark the departure of the chorus. 

The anapaestic systems are treated with more or less 
freedom. 

The strict systems consist of dimeters, which are some- 
times interrupted by a monometer (basis anapaestica.) The 
dimeter catalect. in syllab., the paroemiac, frequently preced- 
ed by the monometer, forms the close. 

The series are closely connected, whence the hiatus and 
anceps are allowed only at the close of the system. Both, 
however, occur in the system itself under certain conditions : 


ANAPAESTIC SYSTEMS. 247 


(1) In an exclamation or address, as Aesch. Agam. 1537. 
Ta ya, ya, 0 sw eeSoo. 
Soph. Oed. Col. 188. 
Ayes viv ov ms, mai, 
a ae > , 3 4 
Ivy ay evoebiag enipaivorres. 
(2) At achange of persons, as Soph. Oed. Col. 139; 170. 
Od. “OS éxsivog éya* Qory yao 000, 
To patifouevor. 
Xoo. Io to. 
Oi. Ovyareo, moi tig Qoortidos ELI * 
At. "Q narep, dotois ion yon mehetay. 
(3) Where in a principal system a part terminates, as 
Aésen, Vers 18. — 
TIpohinortes eBay, 
Oi wer eg tamer, of S émt vac. 
Agam. 794. 3 
Ayhacta nodcwne Bralouerot. 
“Oous & ayados mooBautoyrauor. 
Eur. Hec. 83. 
"Eotat tt veor, 
“TH&eu wi pwéhog x. t. d. 
the words gorau tt vgov are prefixed as a kind of introduction 
to the following system, and do not, therefore, belong to it. 
The break of a word occurs very rarely at the end of the 
dimeter, as Arist. Vesp. 752. 
"Ly 6 xjovk got, tig awygpe- 
ot0s; aviotacda. 
The principal diaeresis of the dimeter js after the second 
foot, as Aesch. Prom. 167. 
"H iy &t énov, xaineo xoareoais 
Ey yruomedaag ainlougvov. 
The elision does not destroy it, as Soph. Aj. 1411. 
Tao énxovgut’, é yoo Geouc. 
The series has sometimes the caesura after the first short 
of the third foot : 


248 ANAPAESTIC SYSTEMS. 


/ , 


a le hl ei he 
as Soph. Aj. 146. 
"Hreo Sogtannzog ec av Lown. 
The rhythm is thereby rendered similar to that of the cyclic 
anapaests. The neglect of the diaeresis and caesura occurs 


in tragedians in a compound word alone, in the juncture of 
which the second anapaest ends, as Aesch. Prom. 172. 


Kai w ove pehiylocoors mevdoveg * 
in comic writers even in other places, as Arist. Av. 523. 
Nov & avdoano0d, y9iovs, Maras. 
‘The paroemiac has no fixed caesura or diaeresis. 
If the last syllable of an anapaest is a monosyllable, then 


in Aeschylus and Sophocles the first also usually forms a 
word, as Aesch. Kum. 932. 


‘O Sé py xtocas Bapéwr tovtwr * 
or both shorts are contained in one word, as Aesch. Prom. 
123. 
Ma tiv diay gidornra Bootay 
the first or still more the first two syllables are, however, 
very rarely the final syllables of the preceding word, as Aesch. 
Pers. 47. Choeph. 1009. 
AGbvue TE nat TOIGOUUE TEN. 
Miuvovze b& zat 2adog aver. 

The spondee can everywhere stand for the anapaest. Spon- 
dees are especially crowded together, when the subject re- 
quires a grave, gloomy rhythm, as Aesch. Prometh. 1076 sqq. 

My dnz’, avcai & vuas avras, 
Eidviae yao nove eSaiqrns 
Ovdé Ladoaiws x. 7.2. 

When the paroemiac receives the spondee in the place of 
the third anapaest, the close resembles that of the spondaic 
hexameter, and produces a similar effect, as Aesch. Agam. 
366. Suppl. 8. Pers. 32. 

Beéhos niUOvwv cunwecer. 
Propw modews yrootsiout. 
‘Innwv ¢ éhatyo Soodarys. 


ANAPAESTIC SYSTEMS. ‘ 249 


Paroemiacs consisting of pure spondees occur in the freer 
anapaestic systems alone. 

The proceleusmatic instead of the anapaest is not found 
in the tragedians, but in comic poets, especially in the first 
place of the dimeter, as Arist. Nub. 916. 


Mv oé 8& qouwar. 

The dactyls can stand for the anapaest. Sometimes entire 
dimeters occur consisting of dactyls alone, as Aesch. Agam. 
1553. ; 

Keanioe, xardave, x0 nated apouer. 
Eur. Hippol. 1361. 

TIodcpogd w aivete, cvvtova 8 eduste. 

Tov xaxodamove rat xataourtor. 

The dimeter with tragedians, especially Sophocles, rarely 
closes with a dactyl, if no dactyl precedes it, as Aesch. Suppl. 
6. 

XIova ovyyootoy Svoie pevyouer. 


An anapaest never follows a dactyl in the same dipody; in 
comic poets, however, this occurs sometimes, as Arist. Pac. 
169. 

Kea pvgov émey ets 3; ws WV Lb METOOV. 

The immediate succession of the two feet in different 

dipodies is rare in tragedians, as Kur. Elec. 1319. 
Myzods ves. Paooe Tardadog 
‘Ootav n&eug 0k GV avéyov. 

The paroemiac admits the dactyl in the first foot only, 

and even then seldom, as Aesch. Choeph. 379. 
Tlawsi 8& waddov yeyevyret. 


With the paroemiac a sentence usually closes; hence an 
interpunction falls after it; sometimes, however, the sentence 
runs over into the following system, as Aesch. Suppl. 5. 


Neihov. Siay dé dizovocu 
Xora ovyyootoy Leia pevyouer. 
It is not necessary that in antistrophic systems feet should 
correspond to feet, but series to series. 


As an example of an anapaestic system take Aesch, Prom. 
1080 sqq. 


2590 ANAPAESTIC SYSTEMS. 


Ket pny éoy@ xovx ete pv 
Xdov cecahevta* 

Bovyia 8 7yo magapvnaroe 
Boovtns, thixes 9 éxdaurovor 
Steoonys Canveot, 

SroouBot Se nov eidicoover* 
Snore 9 dviuwv mvevuata mavtov 
Ets a@hanha 

vy , ’ , > , 
LTLOW UVTUMVOVY KTOSEXPUMEVE.* 
— if > > A lf 
Surtetaoaxta 6 avdyo m0vt@. 
Toad én enor Ginn Sw dev 
Tevzovoa poor oretyer paveows. 
OG \ | Mord , x , 

{2 unteos Eung cepas, wW mMavtoyv 
A970 xoWoY Peos Eihicowy, 
Eoopas w wy éxdixa maozo. 

The freer systems differ from those just described in this 
that the paroemiac occurs not only at the end but also in the 
beginning and middle, and is several times repeated. The 
diaeresis of the dimeter is frequently neglected. The proce- 
leusmatic occurs frequently; in like manner spondees are 
accumulated, especially in the paroemiac, which frequently 
consists of nothing but spondees. In the paroemiac, not only 
the second but often, at the same time, the first and second 
foot may be a dactyl, as Eur. Hec. 99. 

Tléuware, datuoves, ixetevo. 

The anapaest may follow the dactyl in the same dipody, 
as Eur. Troad. 194. 

Tay napa mo09veos gudanav xaréyove . 


The close connection of the series is less strictly observed ; 
hence the hiatus and anceps occur frequently. Other rhythms 
often interrupt or close the system. In Euripides the tripo- 
dia anap. cat., occurs often, frequently in spondees, as Eur. 


Ion. 908, 909. 
‘Os 7° oupar udnoois 
TIgog yovogovg Gaxove. 

As an example take Eur. Ion. 859—922. 


ANAPAESTIC SYSTEMS. 251 


5: ~ 
Q wry, 10S oYVaoO | 
~ s , > 2 
Tug Se cxortias avapnve 
Evras, aidovg 3 anohapeo ; 
862—880 are strictly anapaestic systems: 
eh ~ 
Q ras Entagoyyou pédawy 
, 3 A (age) > , 
Kidaoas tvonur, at ayoavhos 
Kéouow éy awvyo ayer 
Movoay vuvove evayytovs, 
wv A \ > ~ oe 
SO wougar, wo Aarovs mai, 
TIo0¢ tard avyay uvdaow. 


t , ~ - 
FILGEeS wot yovom yoaitar 
, Bano) Ae , 
Mapuatowy, evr ets zodmovs 
Koozea rétada paoecw edoenor* 
> , ~ 
Avdilew yovourravyn. 


~ . \ ~ 
Asvuoig S gupys xaonoicw 
XEwor Eg KYTQOY xOITAS 

A ai ee > b) ~ 
Koavyar w wateo pw avdocar. 


¢ eo: 

Osos ousrvveras ayes avadele (2 dochm.) 

al , , . 
Kozo. yaow moacowy (tripod. anap. cat.) 

> tg , is 
Tiztw 5 a dvotavog cot 
~ \ , | 

Kovoor, tov polue maroos 
Eig evvav Ballo tay oar, 
a 
Iva pe Leyect wehen wéheos 
ECevEa tav Svotavor. 





* Either a tripodia anapaest. acat. in which the anapaest has the 
form of the proceleusmatic : 
wv vs lard 
VUE vULY “VEY 
or a tetrapodia troch. acat. 
IA an a nr 


weve wey Vee vVve 


Compare V. 900. 


The Roman dramatists, also, had anapaestic systems. 
The older tragedians followed pretty faithfully the Greek 
models, although they seem to have cared less for the con- 
nection of the series, whence the hiatus and anceps in the 
An anapzest could also follow a aactyl in the 
same dipody, as Attius Philoct. in Cic. Tusc. II. 7. 


system. 


The diaeresis is not always observed. 


ANAPAESTIC SYSTEMS. 


Oimot mous xeet voy Foner 
ITravoig conactes Gotve 
TTaig pou zat oo 

Thapor, ov dé x0doe waves 
TTaavas pehaoy. 


> A A ~ 3 ~ 
Qy, tov Aatovs avda, 
7 oMy 2 \ ~ 
Os y ougar zhyoots 
\ , 7 
IIoos yovosovs Daxovs 
aoe) , , iv 
Kat yates wsoonoes edoas, 
2). 5, b) A ye 
Eig ovs avday zaovso. 


\ 
‘lo 


r \ > , 
Kazog evvatoo, 


a ~ Ss 3 ~ , 
Os TO) LEV EU PUUPEVTE 


Xaow ov m00LaBay 
~ ” 
TTuiS ets otzove otzilers. 
¢€ 7 OF eas , 
O 8 euog yevetas 
r 4 / > \ ~ 
Kat 00s y auadngs otovots 
Aavre x > ~ 
Eooet ovladers ovcece 
Smuoyura watéooy eaddasus. 
a c x ‘ 
Mise o & Adhos xa Sagras 
ay , > e , 
Hoven gowina mag aBooxouar, 
WA , , a. 3 , 
Evda Loyevuata oeuv ehoyevoato 
\ ~ 
Auto Movi o& xapmois. 


Jam jam absumor, conficit animam. 


Enn, Nipt. in Cic. Tusce. IE. 21. 


Retinete! tenete, opprimit ulcus. 
Nudate! heu miserum me, excrucior ! 
Operite! abscedite jam jam ! 


As an example take 


CRETIC SYSTEMS. 253 


Mittite! nain attrectatu et quassu 
Saevum amplificatis dolorem ! 


Seneca, who frequently has anapaestic systems in his trage- 
dies, treats them as asynartete ; whence the hiatus and anceps 
occur frequently at the end of the dimeter. He does not 
know the use of the paroemiac. ‘The dimeters are frequently 
interrupted by a monometer. As example take Oed. V. 2. 


Fatis agimur, cedite fatis. 

Non sollicitae possunt curae 
Mutare rati stamina fusi. 
Quidquid patimur mortale genus, 
Quidquid facimus, venit ex alto, 
Servatque suae decreta colus 
Lachesis dura revoluta manu. 
Omnia certo tramite vadunt, etc. 


Plautus, among the comic poets, has frequently anapaes- 
tic systems which he treats very freely. Several paroemiacs 
often follow which he frequently forms with spondees. As 
example take Stich. II. 1. 37 sqq. 


Aperite atque approperate, fores 
Facite ut pateant! removete moram ! 
Nimis huaec res sine cura geritur. 
Vide, quam dudum hic asto et pulto! 
Somnon’ operam datis? experiar 
Fores, an cubiti, an pedes plus valeant. 
Nimis vellem hae fores herum fugissent! 
Ea causa, ut haberent malum magnum. 
Defessus sum pultando, 
Hoc est postremum vobis. 
G. lbo, atque hune compellabo. 
Salvus sis! D. Et tu salve. 


Ill. Systems or THE PAEONIAN KIND. 
A. Cretic: my stems. 


The cretics are united into systems, the feet being usually 
joined two by two, although sometimes there is a monometer 
over. Such systems were frequently used by lyric (Bac- 
chylides) and dramatic poets. With the latter, especially 
the comic poets, the cretic appears frequently as a first or 


22 


254 CRETIC SYSTEMS. 


fourth paeon, or altogether resolved into shorts. Cretic sys- 
tems have no fixed close. They occur usually in trochaic 
and iambic measures. It is not necessary in antistrophic 
poems that like feet should correspond. As examples take 
the following systems: 
Lyric poets. Bacchylides: 
Ovy Sous Evyor ovd 
AuBolas, ada yov- 
cayidog Irwvrias 
Xo7n mag evdaidahor 
Naov &1- / So = 
Sovras aBoor ce SeiSce (-v --~—-~). 


Dramatists. Aesch. Suppl. 418—422; 423—427. 
O70. Doovtiwoyv 
Kai yevov ravdixog 
Evoebys mookeros, 
Tar prvyada py 200508, 
Tav &nadver éxBohais 
Avotéors oguevar. 


Sa Dh 
art. M78 toys 
M 2 édoar molvPéwr 
¢ ~ ae 
Proiaodetour, 
Ilay xoarog tyov ~9oves. 
~ 2 7 
Tvodt & vBow aréowr, 
\ 
Kai gvioSae x0ror. 


Arist. Equit. 803—313 ; 382—390. 
org. “2 pepe nat Pdehved 
Kai xaraxexoaxta, tov 
ov Podoovs 
Tlace per yn mdéa, 
Tlaca & éxudqora, 
Kat céhy nar youpat 
Kat dinacryor, 


DOCHMIAC SYSTEMS. 55 


, A 
BooSogoragass xa 
a , v4 € 
Try nohw aenacav 7- 
~ . \ 
Mov CvatEetveBuxos, 
df € ~ AN b) ‘8 5) 7 ~ 
Oors yuov tus Adjvag exxexmpyxus Powr, 
r ~ ~ y , ~ 
Kano tov aetoav vader tovg pooovs Ovrvocz0mey. 


ave. “Hy tou nupos ¥ exega 
Ocouoteon, ua oywr 
"Ey r0dE 

Tov cv aadorv CV CL 

Og comeaee Hel TO repay 

"Hy tee ov padvhov oS 

* * * AW inde nai orpopet, 

MySev odiyor moiet. 

Nov yao &etu pécos ° 
Qe sav veri wadasys avroy év 7H moocBory, 
Asihov evenosis* &ya yaQ TOUS TQOMOVS EMLoTAMAI. 


B. Dochmiac Systems. 


The dochmiac systems are very frequent in the Greek 
dramatists. They are the form for the expression of the 
greatest excitement of the mind, disquiet, terror, anguish. 
Two dochmii are usually joined, and often there is one over. 
The dochmii are all closely joined together, whence neither 
hiatus nor anceps is allowed in the middle of the systems. 
Both, however, occur under the following conditions : 

(1) Tn interjections : : & &, io io), (Sov (Sov and the like. 

(2) In addresses, as Eur. Herc. fur. 876. 


Lov avIog, m0hc, 0 Aws éxyovos, 
(3) In repeating a word, as Soph. Ant. 1322, 1319. 
Ayeté w ot tayos, aysté we éxnodoiv. 
Eyo@ ae 6 yo éxcevoy, o ueheos. 
(4) In the change of persons, as Eur. Hippol. 571. 
A. Tiva Dooeig avdar; tiva Bogs Loyor 5 
B. “Evene tig poet os pina, yore ; 


In many of these cases, where the hiatus or anceps occurs, 


256 DUCHMIAC SYSTEMS. 


a system may also be closed; and this must be done when in 
other cases a hiatus or anceps occurs, as Aesch. Choeph. 985 
—937; 946—948. 
ozo. “Euoke nev dixa, TIovauiSaas yoorm Baovdinos mowa, 
“Euole & &¢ Somoy tov Ayameuvoros. 
ave. "Evoke & @ usher zovatadtov pazus, Sokwpowy mowed. 
"Edie 87 Maze YE00S ETHTVMOS. 
Like forms do not always correspond in antistrophic sys- 
tems. 
As an example of purely dochmiac systems take Aesch. 
Suppl. 892—396 ; 402—406. 
org. My ci mor ovr yevotwar vrozelous 
Koarecw aoctvar. vauctoor b€ toe 
Mijyao oetlouce yapov Svogeoros 
Doya. Svupazor 0 éhopevog dtxav 
IA / 


Koive o¢Bag 10 200g Gewv, (-v~--~—-~-) 


> > , € , Fe? 3 ~ 
arr. -Augorepovs omaimoy tad Emtoxoret 
she \ , 
ZEVS ETEQOGOENTS, VEUOY ELZOTOS 
” ‘ 5 oY 3,_ 419 , 
Adina wsy xaxoig, oola 0 evvomots. 
4 is ~ o ae o] € é , Z 
i tavd && icov GEmousvoy pEeTad- 
~ \ » 
yéig TO Otxcuov EvSus. 
Arist. Acharn. 358—365 ; 385—392. 
es > 5) 
ozo. Ti ovr ov déyers eniSyvor e&- 
‘ ¢. > 
eveynoov Fvoal 
o > el , \ , ea SA 
O tt 20T, & OYETAE, TO MEYH TOUT Eels ; 
) o me AD 
Ilavv yao éusye 2000S 0 te Moores Exel. 
) 2-76 > \ \ - 
‘Add ynEeo avtog tiy Stajy Siwpico, 
i ~ 
Ges Sevpo tovmiSyvoy eyzetoer LéyEv. 
> 7 fond , 2 & A 
ayt. Ti ravra orecper reyvacerg te nal 
Tlogilets towBas ; 
A oF ap) ~ Oe pls’ > ¢ 2 
Auge 3 suov y evexa nag Teomvvupov 
y , > Sy egiss a 
Sxotodacunvuvotoiya tw “Aidog xvviv* 
Ei > aie , ; \ : A * , 
itr’ eavowe ungaras tas Ltovgon, 
‘Oe Pelee ce-aN a ae. has 
Qg oxywuw ayo ovtog ove eadsSer cu. 


BACCHIC SYSTEMS.-—CHORIAMBIC, Ds¢ 6 


C. Bacchic Systems. 
Varro, zegi &aywyys, in Non. 336, seems to have re- 
peated bacchii by systems: 
Quaenim te esse dicam, ferd qui manu cor- 


poris fervidds fortium aperis lacus san- 
guinis, teque vita levas ferreo énse ? 


and perhaps also Plautus. 


IV. Systems or THE CHORIAMBIC-IONIC KIND, 
A, Chortambié Syste in s:. 


Choriambs in systems are repeated two by two: some- 
times, however, there is a monometer over. ‘These systems 
occur in lyric and dramatic poets, often among other rhythms. 
Frequently the iambic dipody corresponds to the choriamb. 
Choriambic series with a logaoedic termination are used as 
a close. Resolutions occur sometimes in the choriamb, as 
in the iambic dipody. 

Examples: Pind. Fragm. Dithyr. IIT. 10. 


/ qn ia) I~ 7 7 
Tor Boomoy cov EoiBour ce xadgouer. yovor vratov 
wey ratéowy wehméeuer. 
Aesch. Sept. c. Theb. 918—921; 9380—933. 
6tg. Auiogowr, ov pidoye- 
7s, etvuag Saxovysov 
‘Ex goevog, & xLawouevas 
Mov nove 
Toivde Svoty avaxtow. 


5 aS iL ic ~ 7 ¢€ 
avr. TIlaida tov avrac 20ow av- 
Seed , - oy >} ¢ > 
ta Deusve toved Etex, ot 0 
‘QS ézelevtacary va &h- 
Aukopovors 


> Ss) 
XEQo Omocmogoicw. 
22* 


258 GLYCONIC SYSTEMS, 


Arist. Acharn. 1150—1155; 1161—11!67. 
org. -Avtinayor tov Paxadog 

Tov Svyyougi, 

Tov pehgov momryy, 

Qo pév ande@ hoy@ xaxos 

"Ekoheostev 0 Zeve* 

‘Os 7° sue tov thinova An- 
VoLUce LOON- 

yor anéxhes ademyvor. 


> ~ ‘ > ~ Si iv 
avt. Tovto wey avtm xaxov ey° 
Diy: 

“uo ETEQOV 

Noxregwor yevouro. 
~ la 

THravadov yao oixad & 
€ , Lan 
Innacias padivor, 
Eira xarakead tig av- 

Tov mEedvev 
Tis xegadns ‘Ooéorns. 

Pindar repeats in Isthm. VII.,5, the choriamb with the 
basis in the manner of a system : 
Le x 4 >, oe See Se X » 


cm eee ee ee ee ee ee Yee YY OY ee ee YY eee YY VY 


a. 9) o ‘ , 2 3 ~ ~ i » ease) A pean zc 
EDL OTl xOUTOS ESEVOE. TH “ML EYO, HAITED 
> , A SF. , , 
Ayrvuevos Ovueor, aitéeomat yovoeay xadeout 

~ \ 
Moioar. &x neyahov dé nev cov dvd vtec. 


B. Glyconic Systems. 


The Glyconic systems were frequently used by the lyric 
and dramatic poets. We distinguish the Glyconic systems 
as pure and polyschematist. 


(a) Pure Glyconic Systems. 


In these the Glyconic always appears in the original form 
> EW) = 


w ww 


GLYCONIC SYSTEMS. 259 


and the polyschematist is never used as the corresponding 
form. The closing iamb is always preserved pure. ‘T'he 
Pherecratean forms the close of the systems: 


aa, = 
oe SS gee WW cee, WS 


wv 


The basis is but seldom trisyllabic, never a pyrrhic. 


Such sytems were employed by the Ionian lyric poets, as 
Anacreon : 


LFovvovpai o éhagnBore, 

— \ ~ 4 > ip 

ZavIn tai Aros, ayotov 
Aéonow “Agrtems Ono. 


“[uov vow ent Andaiov 
Aivyov Foeonagdiov 
Ardoav &yxad 00a mokw 
Xaigove * ov yao arynuepovs 
TTomaivers mohujras. 


‘2 nai mapd evr Biémor 
Aitnuai o8, ov © ov xdveg 
Ovx eidms, ore tHS EuaS 
WPuyns yrysvete. 
Commonly three or four Glyconics, with a Pherecratean 
as a Close, form a strophe. So in Catullus Carm. XXXIV. 


Dianae sumus in fide 

Puellae et pueri integri : 

Dianam, pueri integri 
Puellaeque, canamus. 


and Carm. XLI. 


Collis o Heliconei 

Cultor, Uraniae genus, 

Qui rapis teneram ad virum 

Virginem, o Hymenaee Hymen, 
Hymen o Hymenaee. 


In Carm. XXXIV, besides the trochee and spondee, he 
uses the iamb also for a basis; in Carm. LXI, the trochee is 
for the most part the basis, more rarely the spondee, the 
iamb never. 


260 GLYCONIC SYSTEMS. 


In V. 25, the two shorts in the Pherecratean are contracted : 
Nutriunt humore. 


Versus hypermetri sometimes occur as Carm. XXXIV. 
11; 22. 
Saltuumque reconditorum, 
Amniumque sonantum. 


Sancta nomine, Romulique 
Ancique, ut solita es, bona. 


Carm. LXI. 115, 135, 140, 184. 


Flammeum video venire. 
Ite, concinite in modum., 


Unguentate glabris marite 
Abstinere, sed abstine. 


Sola cognita; sed marito 
Ista non eadem licent. 


Jam licet venias, marite. 
Uxor in thalamo est tibi. 


V. 81 and &2 must be read: 


Flere desine, non tibi, Au- 
runculeja, periculum est. 


Once in Carm. LXI. the last syllable of the Glyconic is 
anceps, V. 46. 
Quis deus magis ah magis 
Est petendus amantibus? 


And once the hiatus occurs, V. 186. 


Uxor in thalamo est tibi 
Ore floridulo nitens. 


The Dorian lyric poets have indeed no independent Gly- 
conic systems, but sometimes Glyconics and Pherecrateans, 
combined systematically, form parts of strophes, as Pind. 
Nem. II. 4. 

>»Ge 2 X / > a2 ei 
\ € ~ 3 , 
KaraBoiar iegav ayovor vinagopias dedextat 200- 
zav Neusatov. 


GLYCONIC SYSTEMS. 


261 


The dramatists likewise have Glyconic systems, as Soph. 
Philoct. 169—172; 180—183. 


O70. 


p) 
avt. 


Arist. Equit. 


OTO. 


> 
avt. 


Ou: , r ” > a” 
ixzélow viv tywy , O06, 
My tov zidopnevov Boorayr 
M \ , 4 >= of 
HOE GUPTOOGOY OM EXOY, 
Avoravos povos asi. 
3 lf 
Ovzos mewtoyorary (ows 
” > N os 
Otxwyv ovdevos votEoos, 
Tlavroy éupmogos év Bip 
Keiza wovvos am tddoov. 


973—984 ; 985—996. 


"Hodwrov paos neous 

"Eotat toict mapovot ma- 

CW ZUL TOS UDLAVOVEEVOLS, 
"Hy Kiéwv anodyras. 


Kaizot moecBuréowy tivary 
vf 

Olwy aoyadswratoy 

P| ~ ? ~ ~ 

Ey tp deypate tay dino 
ay > > , 
Huovoe avtiheyovtoy, 


‘Qo ef uy yeve® ovrog éy 

Ti mohe méyas, vx oy 7- 

orny oxevy V0 yonoino, 
Aoidv ovdé rogvyy. 


Adde nai t68 Moye Oav- 

wale tS vomovotas 

Adrov* pact yao avrOr ot 
TTaideg ot Evveqoizav 


4 
Tiyv Awpiott moryy évag- 

’ \\ \ , 
notrecO ut Sawa tHy Avear, 
Addyy © ov éOehew LaBety: 

Ay 
Kata cov xvaguotyy 


262 GLYCONIC SYSTEMS. 


OoyioPevt amayew nehev- 
EW, WS KQMOriaY O mUis 
Ovzos ov Svvara wadeiv 
"Hy wy Awpodoxyoti. 
Seneca in his tragedies combines Glyconics together in 
the asynartete way, and has often a molossus for a choriamb, 


as Oed. IV. Chor. 882. 


Fata si liceat mihi 
Fingere arbitrio meo, 
Temperem Zephyro levi 
Vela, ne pressae gravi 
Spiritu antennae tremant. 


The Pherecratean occurs indeed sometimes among Gly- 
conics, but does not form the closing rhythm. 

Also Pherecrateans sometimes are repeated by themselves 
systematically, as Anacr. Carm. XXX. (v0). 


Ai Movou rtov"Eowta 
Ajoucu orepavoit 
To Kelis mapédwxar. 
Kai vov 4 Kvdéosve 
Znrei LWtoa peoovsea 
Avousdot tov’ Eowra. 


Kay voy 8 tig ator, 
Ov eect, pevet OE 
Aovievew Sedidaxta. 


Aesch. Sept. c. Th. 295—300; 312—317. 
oto. Toi wer yao mori mvpyous 
TTauvdypet mavopret 
STElyovow' ti yévomuce 
Tot 8 ée augiBoroow 
Tamrovot monirag 
Xeouad oxoweoour. 


6 I ~ 
avt. TIpo¢g rad, w mohovyzor 
4 ~ XN cl 
Oeol, toiot pev Eo 


GLYCONIC SYSTEMS. 263 


ITvoyar ardooderepav 
Kei cay biwonhor ara 
Eupadortres coo te 
Kvsos, zoig Se modirac. 


A kind of Glyconic is often found repeated, which has an 
anacrusis instead of the basis : 


As a close v—~~-—~ is given to it, as Arist. Equit. L1J1— 
1130; 1151—1150. 
org. (2 Ajus, xadjy 7 eyes 
Aoyiy, Ove martes br- 
Domo. dedincl G wo- 
mEO KVOOM TYQUPPOY. 


P) 
AV svtapayoyos é, 
Owmevoueros té yci- 
psig xaSamaraueros, 

a A a 
IIoog cov cE heyort cet 
, ¢ ~ , 
Keynvas* 0 vovg d¢ cov 

\ ~ 
ITapor anodyjuet. 


24 7 ~ 3 a” ~ fe 
avt. Novs ovx ert tai xomas 
se 8 ~ Y Eee) ~ 
OY, OTE ML OV CTOOVEtY 
> \ 
Nopiler’s éya SF Exo 
Tarr yhvdiato. 
\ a 
Avros te yuo ndonct 
Boviiwv t6 x08 iugous, 
Kientorreé te Bovdowet 
Toépew va mpootarny * 
~ Se Bi 
Tovtor 3, orav 4 mhéwe, 
v 
Aous énurtaSa. 


(b) Polyschematist Glyconic Systems. 


The polyschematist Glyconic systems have not only a 
greater variety of measure in the basis, but the closing iamb 
of the Glyconic also may be converted into a spondee: 


264 GLYCONIC SYSTEMS. 


and the polyschematist form: 
EO Cn? 

be exchanged with the original form. In antistrophic poems, 
the polyschematist sometimes corresponds to the original 
form, and the reverse. ‘The Pherecratean does not always 
form the close, but frequently another rhythm. Frequently 
other rhythms, more or less like the Glyconic, longer or 
shorter, are intermingled. 

The Aeolian lyric poets appear to have employed such 
systems. Hephaestion cites some polyschematist forms, 
which were used by Corinna: 


Kaha yéoore sioapera 
Tavayoidecot hevnzonéndos * 
Méya 8 tun yéyade moh 
Ayoupoxwtihys évomis. 

In the dramatists, either the polyschematist form occurs 
alone, or intermingled with the original, as Pherecrates in 
Photius : 

Tois dé tortoise 
Toig yuri xoivovot 2éyo 
My 'muoozeir, wy 9 adixos 
Koivev, 7, vy, tov Dihioy, 
Mv op eis vuag EzEoor 
Didoxourys Léa, 1010 tov- 
TOV KLANYOOLOTOTEQOY. 


Arist. Vesp. 1450—1461; 1462—1473. 
oto. Zidw ye tig evtvytas 


oe! 
\ Pew; cad , 
Tov moeopvur, ot weteoty (---~—v——) 


— ~ , 4A Q ~ A 
=NHOwY TOOTIOY xEt HLOTHS 
Cay “a ~ 5) \ 

Ereou ds vuv avtimadtoy 
—s an 


3 , , , 
v HT peya meiceta ty (v-vv—~—~) 


GLYCONIC SYSTEMS. 265 


Emi to tovpar xat madaxor. 
Taya 8 av iows ovn &déhor. 
T0 yao amocty val yadenov 
Dvoeos, iv eyou ts cel. 
Kaito zoho cave éxador: 
Zvrortes yromus étéowv 
MereBaddorto tovg toomovs. (vv --v-~—-) 


5 ~ A 
avt. IToddov & éxaivov MUO Ot 
aN ro Oh ~ 

Kut toiow sv poovovew 


\ + 
Tvyov ameow Sue tiv 
4 \ 4 
Dihomaroiav zat coiar 
75 € 
‘O rais 0 Didoxdgovos. 


\ (¢/ ~ 
Ovdert yao ovtas ayaur@ 
— Z Ge | y 
ZUVEVYEVOMNY, OVOE TOOTOIS 
Lneuavyy, ovd” &eyvOrny. 
Ti yao éxsivos avtiheyovr 
t , 
Ov xositzwr iv, Bovdouevos 
Thiet ane 
Tov qucarta ceuvoteoots 
Karaxoopjou moaypac 3 
Eur. Phoen. 202—213 ; 214—225. 
org. Tvo.or oidua dinova éBav (1)* 
‘Axoodinua Aokta (1) 
Dowtoous uno vecov 
Ded 4 
? , 
Popo dovia pehadowr (--»—-vy—-) 
is 
‘Ty v70 bepace vipopodorg (1) 
Tlugvacov xarevacdn, 


Lovioy nate movtov éha- (1) 

Te mhevouca menugovt@y (1) 
‘Ynio auaonictary mediwy (2) 
Sineliang Zeqvoov mvoaig (1) 





* The numeral | denotes the original form, 2 the polyschematist. 


23 


266 


YT. 


én. 


GLYCONIC SYSTEMS. 


¢ , ~ 
Innevoerzos, év ovgare (1) 
, , 
Kakhotor xekadjuc, 


Tloleog éxmoozorv9 eto gues (1) 
Kadhotevuata Aosic (1) 
Kadusiay 3° Euohor yar, 


Khewoor ‘Ayivopdar 
‘Opoyereis ett. Aaiov (1) 
Tleupdeiy évOade mvoyovs. 


"low 8 aycdpmact yovootev- (1) 
ztoig DoiBa Lazo yevouay. (2) 
"Eu 0& Kaotadtas vdwo (1) 

») , ¥ z. \ 
Enwmevet we xomas euag (1) 
Asvou, nap0énor yuday, (1) 
DoiBelaro Aurpetats. 


% 
2D Launovoa mézo0a avoos (1 
a Q 
7 is A af 
Aizoougor o&has ume uxowy (1) 
Baxzysior, Aovicov 
Ova 8, & xaOaugoror (2 
? { Ly 
=e ‘ , 
DTulEs TOY MOhVeZUOTOY 


Oivardas sion Boreur, (2) 

Zaven t evton Soaxovros, ov- (1) 

pswal te Guomuat Dec (1) 

NigoBodor v opog tegor, et- (1) 

hicowy adavatas Dov (1) 

Xopos yevoimar apopog (2) 

Tlape pecougadea youra Dot- (1) 
Bov Atozay moodimovoe. 


Arist. Ran. 1820—1328. 


Ovurdas yavos auneov, (1) 
Borovog tina mavoinovor. (2) 

ef 
TlegiBudd, wo téxvor, coevac. (1) 
‘Ooas tov 208a Tovtor ;—o00.—({2) 


IONIC SYSTEMS. 267 


Ti dai; tovzor opas ;—oga.—(1) 
Towel wevtot ov mowy (2) 
Tohwas tana wedyn weyev, (1) 
‘Ava to Sadexaujyavoy (1) 

Oarice p 

Kuenrys pshorowy ; 


©. Lbonie-o y stems: 


Ionici a minore are combined into systems. The ionic 
systems are divided into pure and polyschematist. 


(a) Pure Ionic Systems. 


They were used by the Aeolian lyric poets, and by the 
tragedians. Among the lyric poets, Alcaeus had such sys- 
tems. Hephaestion cites as an example: 

Eye Sedov, éue macay xaxotarwy medéyouway, 
and remarks that every ten feet should have formed a strophe ; 
hence such a system is called a Decapodia Alcaica. Of this 
kind is also Horat. Carm. Il. 12. It consists of four such 
systems, which form as many strophes: 


Miserarum est neque amori dare ludum neque dulci 
Mala vino lavere aut exanimari metuentes 
Patruae verbera linguae. 


Tibi qualum Cythereae puer ales, tibi telas 
Operosaeque Minervae studium aufert, Neobule, 
Liparaei nitor Hebri. 


Simul unctos Tiberinis humeros lavit in undis, 
Eques ipso melhor Bellerophonte, neque pugno 
Neque segni pede victus; 


Catus idem per apertum fugientes agitato 
Grege cervos jaculari, et celer alto latitantem 
Fruticeto excipere aprum. 


The Greek tragedians had similar systems, as Aesch. Pers. 
65—70; 73—78. 
oto. Ilenegazer wev 6 meocéentohg 76y Buctdeos 
ATUATIS Ely eVTinogor yeltova yoour ; Awodéoum 
Dyedia mopP poy auelwas. 


268 IONIC SYSTEMS. 


avt. Tlodvardoov 8 Actas Povous Koyo ini m&car 
Xora momavoouoy Petov sLavver SipoOnr, mé- 
Covomos éx te Dadooons. 

Euripides sometimes resolves the arsis and contracts the 
thesis, as Eur. Bacch. 78—82; 95—99. 

oro. Ta te wazoos neyahas voyta Kupélag Oeutevor, 
"Ava DvOGOY TE TWHGCWY HIGG® TE GTEGaraOsts 
Aorvoor Oeoumevet. 

avt. Aoyzios 8 avtiza ve dato Valauos Koovidas Zevs: 
Kara woo b& zaliwas yovosaow ovrepe(déE 
Tlegovatg xovntor ag “Hoas. 


(b) Polyschematist Ionic Systems. 


In these systems pure forms alternate with polyschematist 
and broken ones. Commonly two ionics belong together. 
In antistrophic poems, sometimes different forms correspond 
to each other. Such systems often begin or end with other 
rhythms. Many Anacreontic poems may be regarded as such 
systems. ‘The dramatists also used these systems, as Aesch. 
Prometh. 8397—405 ; 406—414. 

oto. Ltérm ce tas ovdouerag tvyas, TIpouynder, 

Aazovoistaxtoy 8° an ooowy 

Paduor de- 

Boueva 6¢0g mapear 

Notiog éceySa mayais 

"Ausyaota yao tTadE ZEvg 

Tog vomore xoatvrey 

‘Yreojpavov Peoiow 

Toict maoos Selxvvow atyuar. 

avt. Ilponaca 8” 75y otovoer Lehane yoou, 

Meyadoozjuova t Moya 

omoenthy —. 

VY = 6TEVOVGL TAY OMY 

EVvv0“aimovor TE TAY, 

‘Onocort éEmoixor ayvas 

"Acias &0¢ veuortat; 


Eur. Cyclop. 495—502 ; 5083—510; 511—518. 


OTD. & 


IONIC SYSTEMS. 


Meyahootoro.t ooiot 


ITiwaot ovyzcuvovoe Ovytoi. 


Al wr 
Meaxcaous og eviater 
Borovor pihawe mnyaig 
> A ~ 3 A 
Em xopov sumetaod és, 
Dihov avdo vaayxarilor, 
. 4 a 
Ent Sepviowg te Eardor 
Xdavrys Eyov ecaioug 


Mvoéyzoustos himagov 6o- 


otouzor, avog dé, Ovoar tig o1Set p01; 


ozo. B 


Tlanand, nhéws mer oivor, 
Davypat b& Saatog n8ye, 
D4Pos Olnas we yemioPes 
Tozi oehwe yuorQos engees. 
Trayeu HO Kogros Eevpowy 
Emi xomov yoos wocis, 
Em Kuzhonag &dehqovs. 


Megs wot, Seive, pig aoxov évdog mot. 


4 
OT0. 


Keador oupacw dedooxa¢ 
Kadoy éxuneod nehador. 
a 
~ id ~ 
vv — idet Tig NUas. 

, ; > 2: Tee \ 
Avyva 8° appéver Saia oor 
X04, YOS TEOEWHR VUUGO 
Agoceguiv Eowdev crtoQMr, 
Ltepavor 0° ov pla yoou 


\ ay toss , 4 ld 
Tlegi cov xoata tay eSomidnoe. 


Arist. Vesp. 291—298 ; 305—311. 


O70. 


5 
Evehjoes ti wot ovr, 


Ilateo, nv cov cw dey0o ;— 
2 > 
Ilavv y, wo madior. ahd s- 
\ 
mé th Bovher me motaoOc 
\ ~ 
Kahov ; oiwoe bo éostv a- 
, , Bs ~ 
otoayahous Symovter, @ mai.— 
23* 


269 


270 STROPHIC COMPOSITION. 


\ 2 b) > 3, 
Mea Ai”, adv isyadas, wo man- 
7 
Mic 7OLOY yQ.—OU%X ay 
\ ? id ~ 
Ma At’, 8 xosuaodé y vusis. 
p) se | ~ i J , >! A 
art. "Aye vir, © NATED, HY UH 
\ lA 7 
To dixactyoov apoyo 
a , ae iL 2 
Kadion vuv, moder wvy- 
/ og 2 ” b] 
soued aolotov ; ExEls Ed- 
‘ ~ N 
MOK YONOTHY TWH VOY Hf 
Tlogov EdLag igor sineiv ;— 
‘Anum, PEv, ananai, ~pEv, 
Me Al ovx éyoye voy 01d" 
‘Onoder ye Seinvor tora. 


CTA Pel i ey. 


ST RO PAT. CO: MP O'S: 1-5 ON: 


By strophes we understand a combination of verses, which 
are repeated in the same order (P. 1. c. 9. p. 35). The 
smallest strophe is the destich. Also systems may at the same 
time be regarded as strophes. But we treat here of the 
strophes properly so called, as they were used by the Tonian 
and Aeolian poets and among the Romans, especially by 
Catullus and Horace. They differ from the verses used by 
the line in that they consist of more than two, commonly of 
four verses; and from system, in that they are not necessa- 
rily required to be composed of similar parts, and when this 
is the case their parts do not intimately cohere; hence at the 
end of every principal part or verse, the hiatus and the an- 
ceps are unconditionally allowed. 

Every strophe forms a whole; hence the rhythms of which 
it is composed must have a common character, and itself a 
satisfactory close. All strophes are not alike perfect. The 
Aeolian structure of the strophe attained the highest perfec- 
tion in the Alcaic strophe. 

‘The bucolic songs in some of the poems of Theocritus 
(Idyll. 1. 64—145; Il. 17—185) and those of Virgil, (Kcl. 
VU. 17—61, 64—109); in Catullus Carm. LXIT and LXIV, 


TROCHAIC STROPHES. 


Pervigilium Veneris, and others may be regarded as a kind of 
strophe, that is, several verses are separated from each other 
by a burden or ‘refrain. . he number of verses thus separa- 
ted is not always entirely the same, but an approximation only 


to equality between the strophes is looked to. 


Strophes are also divided according to the rhythm which 


predominates in them. 


I. STROPHES OF THE DOUBLE KIND. 


A. Trechare Stropies:. 


/ ae = 


]. -—---—-~-—- three times. 


Anacreon : 
TToie Ooyixtn, ci 8n we 
Aosov oupaot Biénovee 
Nydews pevyes, Soxdeg Oe 

M’ ovdev etdévas coor ; 
"Todt tor, xahM@s Mev EY GOL 
Tov yadwor éuparout, 
€ , ED , 

Hyiag 8 syor otoeporut 

3 ‘ , , 

Angi teguata Soopmov. 
Nov Se Lepoavas te Booxect, 
Kovga té CHIOTMOM MU! EIS" 
A 3 \ \ id , 

ELOY YO IMTOMELOHY 

> ele 2 , 

Ovx eyes emeuBarny. 


4 _ — 


(2) ----+-~-~ five times. 


Timocreon : 
‘Qgehev o w tughé Mhovte 
Mize yy pit &y Dadacoy 
Miz &y yqaelom garyrat, 


Pri 4 IAMBIC STROPHES. 


5 A 
Alia Taotapor te vate 
>»? ‘ Q\ ‘ a> 
Kayoorvtas dia og yao mavt 
7} ae) > , I. 
Eot ev avPowmolg xan. 


B. Iambic Strophes. 


Here belong many Anacreontic poems, which are written 
in hemiambs. The end of the strophes indeed is not com- 
monly marked rhythmically by a peculiar close, but the stro- 
phic structure is easily perceived by the sense and the inter- 
punction. ‘hus Anacreon and his imitators formed stro- 
phes of 2, 3, 4,5, 6, and more hemiambs. As an example 
take Anacr. Carm. XUIL. (ca’). 

Oi wev xadjy KvBiByy 
\ € , yo 

Tov quidiyhey Artw 

‘Ly ovoeow Boorta 

Akyovow epmavyvot. 


Oi dé Kidoov mag oxPas 
AagripoQo. DPoiBov 
Adiov muorteg VSH0 
Meunrores Bowow. 


i A ~ 
Eyo Se tov Avatov 

rhe ta ~ , x 
Kai tov pveov xogecBets 
y AN ~ S ¢ , 
Kae rns euns exaions 

, ié ~ 

Oia Fedo waryva. 


Carm. XX XVIII. (me) has a peculiar close: 


— / _ 


v—-v—v—~ five times. 
/ _— 
eb) \ , , > 
Eyo yeoov méy eit, 
\ 
Néwr adeov b& 200° 
ira aN \ i p 
Kay pev d&y yooevetr, 
\ 
Scidnvov Ev weécoot 
, , 
Miuovperos yoosvom, 
~ d SY > id 
SUMTOOY EYOV TOY HOXOY. 


IAMBIC STROPHES. 9713 


‘OS ovdev éott vegans 
‘O per OsLov payeoOat, 
Tagesee 0, pazecten. 
‘Epou xvmedior, W 20h, 
Medtyoor oivov 7 dvr 
Eyxepdous pooncor. 


Carm. XXXV. (78’). 


vive {Dee 1unes. 
; a 
‘O THVOOS OUTOS, @ Mei, 
Zevy woe Soxet tig lvoe, 
Deve yao &uge vorou 
DWoviyy yuruixa. 


Tleog 5& movtov evovr, 
Téuvet dé xduc ynhais* 
Ovz av 5é taboos addog 
EE aythngs eLacdes 
"Enievos tiv Oadaccar, 


Et wy movos 7 éxsivos. 


Carm. XXVII. (uf). 


Q74 DACTYLIC STROPHES. 


~ \ < ~ c , 
Tov Aws 0 zaig 0 Baxyos 
c ~ 
O hvoigowry Avaios, 

Lf > b) v, \ 3 \ 
Or stg Mosvag Tas Euas 
, ? 
Lice. Oy peOvdoras, 
AWucxouce yooevew. 
N \ 
"Eyo O& nai tt tTepmvor, 
7 ~ , 5 \ 
O tas wsdus eouctas, 
Mera xpotov mer Wdas. 
E} 
Teoma zai wo Agoodiza 
ea , , 
Kai aah F¢ho yoosvew. 


I]. SrropHes OF THE EQUAL KIND. 


Dactylic Strophes. 


/ acl, = 

] ee Yee Yee YY es YY oe VY 
. 

7 es A = 

we Ve VB ee UY Ye 

UA rms 4 a 


iid 


Strophe Sapphica. 


This strophe, often used by Sappho, Catullus, Horace and 
others consists of three series, to which a shorter one is added 
as a close. ‘The three longer series consist of a logaoedic-dac- 
tylic rhythm (dactyl. logaoed. simplex dupliciter troch. acat.) 
to which a monomet. troch. is prefixed as an introduction. 
The close is an Adonius. The poets regard the single parts 
of this strophe sometimes as systematically connected series, 
sometimes as single verses. This is particularly true of the 
close, which was regarded as an epode of the third verse, 
and in the manner of asynartete verses, sometimes connected 
with the preceding verse, sometimes separated from it. 

The Sapphic verse seems not to have had, among the 
Greeks, a fixed diaeresis or caesura. In Sappho there is com- 
monly a diaeresis after the trochaic monometer, as, 


DACTYLIC STROPHES. Bia 


Tlowii0b oor, edcvar ’Apoodira. 

‘Adda tid? EP, ail mone uaréoorte, 
sometimes also the caesura after the Jong of the dactyl, as, 
> , a) \ ~ , 

Rxueeg orpov ot, met yas mEhaivas. 

Mawohe Suug, tive 8° avre meidoo, 
or after the first short of the same; 

Aiwa 8 e&ixovto cv 8’, © wexaiga. 

In Horace the caesura is most usually after the long of the 
dactyl ; and next tothis the caesura after the first short of the 
dactyl, most frequently occurs. 

Of Sappho, besides several fragments, two odes in this 
measure have been preserved: one by Dion. Halic. de comp. 
verb. c. 23, the other by Longin. mE Vwovg c. 10, the latter 
however is not entire. A portion of the latter was translated 


by Catullus, Carm. LI. The conclusion is sometimes joined 
to the preceding verse. 


TIvuva Swebdvtes atéo an woara at0é- 
00g Sie péoow. 
\ ¢ , 
Lodavet, xut mhuctoy adv pavev- 
Gus UmUxovEt. 

She only allowed herself the hiatus, as it seems, between 
the first and second or between the second and third verses, 
between which, however, an elision also might take place. 

Catullus has this measure twice: Carm. XI. and LI. 
The trochaic monometer, in his poems, ends for the most 
part with the long, but sometimes also with the short, as XI. 
Oy tot ble 

Seu Sacas sagittiferosque Parthos. 
Pauca nuntiate meae puellae. 
Otium, Catulle, tibi molestum est. 


In XI. 12, the close is joined with the preceding verse, 


Gallicum Rhenum, horribiles et ulti- 
mosque Britannos. 


Versus hypermetri are found XI. 19; 22. 


Nullum amaus vere, sed icentidem omnium 
Ilia rumyens, 


276 DACTYLIC STROPHES. 


Qui illius culpa cecidit, velut prati 
Ultimi flos. 


Horace uses the Sapphic strophe in 25 odes (I. 2, 10, 12, 
AU eae, OU Oe, Oe. 12.46.8105 16. 1 Be. 1k 
14, 18, 20, 22, 27. IV. 2,6, 11) and in the Carmen secu- 
Jare. 

He gave to his rhythm a greater vigor, suitable to the sub- 
ject of his odes, by ending the monometer troch. always with 
the long, and by letting the caesura alter the Jong of the dac- 
tyls predominate ; but the caesura after the first short of the 
dactyls also occurs, especially in later poems. The elision 
does not remove the caesura as III. 27, 10. 


Imbrium divina avis imminentum. 


Once inthe caesura, a short is used as long: II. 6, 14. 
Angulus ridet, ubi non Hymetto. 


A word of one syllable is used in the caesura only when 
another monosyllable precedes it: I. 2, 17. 


Iliae dum se nimium querenti. 


Sometimes Horace joins the close with the preceding verse, 
gs 22) 19 25; Bie TL AG Ee 2 59) 
Labitur ripa Iove non probante, u- 
xorius amnis. 
Thracio bacchante magis sub inter- 
lunia vento. 
Grosphe, non gemmis neque purpura ve- 
nale neque auro. 
Pendulum zona bene te secuta e- 
lidere collum, 


He also separates it by the hiatus, of which no example is 
found in the remains of Sappho. 
[PR Gees Gk ae oka 
Neve te nostris vitiis iniquum 
Ocior aura. 
Unde vocalem temere insecutae 
Orphea sylvae. 
Nec Jubae tellus generat, leonum 
Arida nutrix. 


Versus hypermetri also occur, as IV, 2. 23. Carm. secul. 


DACTYLIC STROPHES. pais 


Aureos educit in astra nigroque 
Invidet Orco. 

Romulae genti date remque prolemque 
Et decus omne. 


further, Th 2: 18-16, 34. 1V. 222. 


Dissidens plebi numero beatoruin 
Eximit virtus. 

Mugiunt vaccae, tibi tollit hinnitum 
Apta quadrigis equa. 

Plorat et vires animumque moresque 
Aureos educit in astra. 


The first three verses also may close with a word, which 
is nearly connected with the following, for example, with a 
conjunction, a preposition, or pronoun, as IT. 6. 1, 2. 


Septimi, Gades aditure mecum et 
Cantabrum indoctum juga ferre nostra et 
Barbaras Syrtes. 

IV. 11, 18. 


Pene natali proprio. quod ex hae 
Luce Maecenas, 


-IV.6, 11. 


Procidit late posuitque collum in 
Pulvere Teucro. 


The hiatus between the first and second and between the 
second and third verses is rare. Exatnples are found, I. 2, 
6. 123.6. 25; 18.30; 6.11, 4, Gs. 16, 5. TU. 91, 29..50.- 2a, 
10. 

Among the later poets Statius, Sylv. 1V. 7, and Ausonius. 
have Sapphic strophes. Seneca also uses the Sapphic mea- 
sures in his tragedies and after a certain number of Sapphic 
verses, permits the Adonian to follow, as in Medea HI. Chor., 
the first seven strophes consist of three Supphic verses and 
the Adonian and then seven strophes of eight Sapphic verses 
and the Adonian. Only the last strophe but one closes with 
the second half of the Sapphic verse and the Adonian. 


278 DACTYLIC STROPHES. 


Patrioque pendet 
Crimine poenas. 

In other passages a long series of Sapphic verses closes 
with the Adonian, as Thyest. III. Chor.; in others, Adoni- 
ans are mingled here and there with Sapphic verses, as Oed. 
I. Chor. ; in others, lastly, Sapphic verses are found without 
Adonians, as Herc. fur. IIf. Chor. The Sapphic verses 
have generally the caesura after the long of the dactyl. 

As examples of Sapphic strophes, the following poems 
may serve: 

Sappho: 

Daiverai wor xjvog ios Oeoicw 

"Ener wvno, oats évarttos tot 

Lodave, xat mhactov adv pavev- 
Gas VTUKOVEL 


4 , ¢€ 7 / af 
Kat yehaious megoer* to hot aupay 
me 7, >] / C 3 iA 
Kapdiay ev otadeow entoucer* 
‘OQ fs \ : >] f) s 3 , . aes 
25 yao Eto10W, PEOZEWS ME POVas 
GN et eed 
Ovdey ét txét, 


>} 4 ~ 5] 
Abhi xo pev ylocou éaye, Lentoy S 
Avtiza YOO 1VE vm0beOQOMaxer, 
Onnutecot 8 ovdéey Cornw, mob 

sot 0 ovdsy ognm, Emtogop- 

~ ’ ’ - 

pevot 8 axovai. 
Catullus: Carm. LI. 


Ille mi par esse deo videtur, 

{lle, si fas est, superare divos, 

Qui sedens adversus identidem te 
Spectat et audit 


Dulce ridentem, misero quod omnis 

Eripit sensus mihi; nam simul te, 

Lesbia, adspexi, nihil est super mi 
[Quod loquar amens. ] 


Lingua sed torpet; tenuis sub artus 

Flamma demanat, sonitu suopte 

Tintinant aures, gemina teguntur 
Lumina nocte. 


DACTYLIC STROPHES. 279 


Horace: Carm. I. 30. 

O Venus, regina Cnidi Paphique, 

Sperne dilectam Cypron et vocantis 

Ture te multo Glycerae decoram 
Transfer in aedem. 

Fervidus tecum puer et solutis 

Gratiae zonis properentque Nymphae 

Et parum comis sine te Juventas 
Mercuriusque. 


v wv 


(2) -<e nee 


ae VM ee Me 


a re 
yw 


(3 


Se ee 


This strophe consists of dactylic logaoedic series. V. 1 
and 4 are dactyl. logaoed. simplex tripl. troch. cat., V. 2 
a dactyl. logaoed. simplex duplic. troch. acat. and V. 3a 
dactyl. logaoed. duplex duplic. troch. cat. Anacreon uses 
this strophe. Carm. LXVI. (x’). 

TSvpehys Avaxoéor, 
Hdvpedys 68 Lange - 
Tw daoixov 8€ ti mow wéhog 
Dvyxepaoas tig eyyxéor. 


Ta rota tavra wor Soxei, 
Kat Awrvoog 220-07, 

Kai Tain duapozooos, 
Kavrosg Eows av éxmeiv. 


, —y ¥ 


(8) ¢-¥-¥ ovens 


smh, —/ 


RP eres SD) ates NP nee VIN Vas NI cr 


me ee ee ee 


280 DACTYLIC STROPHES. 


Strophe Alcaica. 


The Alcaic strophe is of all Aeolian strophes the most per- 
fect on account of the beautiful proportion of its parts. ‘The 
whole strophe is composed of two elements : 

v¢ Cel 
»—»—~ monometer troch. cum anacrusi. 
V4 v 
—vv—-v-— dactyl. logaoed. simplex dupl. troch. cat. 
In the first two verses both elements appear united; in the 
third verse the trochaic theme is further developed : 
veveve »—~ dimeter troch. cum anacr. 
in the fourth the dactylic logaoedic : 
; ae 
—vv—vv—~+—~ dactyl. log. dupl. dupl. troch. acat. 
and with this longer logaoedic series the strophe receives its 
satisfactory close. 

Aleaeus, Sappho and other lyric poets seem to have often 
used this strophe. ‘The first two verses have usually a diae- 
resis after the trochaic monometer, as, 


Ov yor xaxoiow Ovpor enone. 
"Yee nev 0 Zevsg, &x 8 ogara péeyas. 

It is, however, frequently neglected, as, 
Xemoay* mexayaow 8 vdarov Gout. 
Keappadre tov yemor’, rt pev ce0-ets. 

The third and fourth verses were not so strictly separated 
as the first and second, because the third forms, as it were, 
the proode of the fourth; hence a word may undergo elision 
at the end of the third verse, as Sappho: 

Aida xé 0 ov xarEiyer Onna, 
ALR theyes mgt TO Oixcelod. 

Among the Romans Horace uses this strophe in 87 odes 
(9.16, 2726. 27, 29, 31 ok wort lis ly ooo, ce dake 
pee We: Pa Ses We Te ee i DP Da: Ae WY ps ae 2 
29. IV. 4,9, 14, 15). He strictly observes in the first two 
verses the diaeresis after the trochaic monometer.  Elision 
does not destroy it, as I. 34, 10. 

Quo Styx et invisi horrida Taenari. 


DACTYLIC STROPHES. 281 


The diaeresis is several times neglected in compound words, 
P16 21; 37,0. 1 Lek 


Hostile aratrum exercitus insolens. 
Antehac nefas depromere Caecubum. 
Utrumque nostrum incredibili modo. 


This takes place twice in a simple word: 


i, 3/,. 14, 1V..14, 17. 


Mentemque lymphatam Mareotico. 
Spectandus in certamine Martio. 


The hiatus is once admitted in a word derived from the 
Greek: II. 20, 13. 


Jam Daedaleo ocior Icaro. 


It is preferred to have the interpunction fall in the diaere- 
sis. ‘The verse is less perfect, when a monosyllabic word, 
which belongs closely to the following and which is preceded 
by an interpunction, stands before the diaeresis, as III. 29, 
o7. IV. 4, 37. 

Non est meum, si mugiat Africis. 
Quid debeas, o Roma, Neronibus. 


The third and fourth verses have no fixed diaeresis or cae- 
sura. 

Once a short in the arsis is lengthened in the fourth verse ; 
II. 13, 16. 

Coeca time t aliunde fata. 

The anacrusis in the first three verses is usually long. 
The last thesis in the trochaic dipody of the first three 
verses, is always long. The only exception is III. 5, 17. 

Sinon periret immiserabilis, 


unless we change, with Glareanus, periret into perirent. 
Twice the fifth syllable of the first two verses is lengthen- 
ed by a synecphonesis: III. 4, 41; 6, 6. 


Vos lene consilium et datis et dato. 
Hine omne principium, hue refer exitum. 


Although the hiatus is permitted between the single verses, 
it does not very frequently occur, especially between the 
third and fourth verses. 

Horace has twice, probably after a Greek model, united 
the third and fourth verses so that the third verse is a hyper- 
meter: II. 3, 27. IL. 29, 35. 

24* 


282 DACTYLIC STROPHES. 


Sors exitura et nos in aeternum 
Exsilium impositura cymbae. 
Cum pace delabentis Etruscum 
In mare, nunc lapides adesos, 


The union of the fourth verse with the first of the follow- 
ing strophe, in Carm. II. 13, 8. 
Hospitis: ille venena Colchica 
Et quidquid usquam concipitur nefas, 


arises from an erroneous reading; instead of Colchica, Col- 
cha should be read. 
As examples of the Alcaic strophe, take the fragment of 
Alcaeus in Athen. X. p. 430, B. 
Ov yor xaxoiow Ovpor éenitpénew * 
TIpozowouer yao ovdér aoamerot, 
°Q Boze gaouazxor 8° auctor 
Oivor éveinauevors pedvod7y. 
and Horat. Carm. I. 26. 
Musis amicus tristitiam et metus 
Tradam protervis in mare Creticum 
Portare ventis, quis sub Arcto 
Rex gelidae metuatur orae, 


Quid Tiridatem terreat, unice 
Securus. O, quae fontibus integris 
Gaudes, apricos necte flores, 
Necte meo Lamiae coronam, 


Pimplea dulcis. Nil sine te mei 
Prosunt honores ; hunc fidibus novis, 
Hunc Lesbio sacrare plectro 
Teque tuasque decet sorores. 


>, Oo = 


(4) -vove-e iene 


we ON ee ee ee VO ee YY 


DACTYLIC STROPHES. 283 


This strophe which was often used by the Greeks partic- 
ularly for scolia, and by Aristophanes also (Eccles. 988— 
945), but not at all by the Romans, consists of two phalae- 
cean verses, of a verse which is composed of an anapaestic 
logaoedic series (anapaest. simpl. simpl. iamb. acat.) and a 
choriamb, and finally of a verse which is composed of two 
equal dactylic logaoedic series (dactyl. simpl. dupl. troch. 
cat.). The basis in the first two verses, in the remains that 
have come down to us, have, for the most part, the forms of 
a spondee or trochee; in one scolion in Plat. Gorg. p. 451, 
E. de legg. I. p. 631, C. II. p. 661, A. the basis of the first 
verse is an anapaest : 

‘Tyaivew péev aouororv ardor Ovat@. 
Several times an elision occurs at the end of the second 
verse : 
DoiBor yovooxouar, avant ‘AnohLowv 
ELagypodrov t aypoteour. 
Oiovs avdoas anwhecas, uayecDot T 
"Ayadoug x. t. h. 
As an example take the scolion of Callistratus in Athen. 


XV. p. 695, A. 


2 , ‘ \ , , 
Evy uvotov zhad« to Ei:pos pooyow, 
v4 (3 , > Re 
Romeo ‘Aouodws « ‘Agioroyettor, 

v4 A 

Ore tov tVQUPVYOY ATUVETYY, 

, , 
Ioovououg t (AOnvag Exomoarnp. 


Diktad’ ‘Aowode ov ti mov téeIvynnag’ 
Nijoog 8° évy waxcowr o€ Macw éivat, 
“lva neg modaxng ‘Ayihevs, 
Tvdeidyv té pacw Apydsea. 


A \ lé 
Ev pbotov ziadt to Sipos poonoa, 
A, 
‘Romeo ‘Aouodwg « ‘Aprotoyettor, 
"Or (Adnvaing &v Pvovos 
yf , ¢ 9 td 
Avdou tvgarvov Immaoyov ExaivEetyy. 


5% ~ , oy > i i 
Aisi op@r uhéog toosta nar aay, 
Sa, , 
Diicad Aopodg x ‘Agutoyeizor, 


284 CHORIAMBIC STROPHES, 


4 \ ? , 
Ox tov tvgavvoy utaréetny, 
Ey , a , 2 , 
Icovopovs t -Adyvas Exomoartyy. 
x—~- = 


(S)iae ee aoe 


X-—~s - 


wee ee ee ee YO 


f —_ 
ae VV ae VY oe YY Oo 


, vw 


SY ae VV oe VV aw V oe 


The first two verses consist of a dactyl. duplex duplic. 
troch. acat. with a basis; the third verse is the same series 
without the basis; the fourth an anapaest. simplex triplic. 


iamb. acat. Alcaeus uses this strophe in Schol. Pind. Isthm. 
eM?) Dieg: Laett. 160.7: 


€ , 
Qg yao by more Qacw “Aoiot0Samor 
fs SS , , > >] 7 5 ~ 
Wy Lmuote hLoyor ovz amahapvor sinny’ 
ra , \ > A 
Xojwar “rio mEevizoos yag ovdeig 
\ > \ 
Héhet échog ovdé timos. 


Ill. SrropHes oF THE CHORIAMBIC-IONIC KIND. 


A. Choriambic Strophes. 


X / / es 
Oe ee 
X / / bai 
mane |evenee 
x ; : v 
—aavve|aveeee 

> ee ty? ict 


ae ae YOY ee 


Asclepiadeum tertium. 


The first three verses consist of an Asclepiadeus primus 
(a dimet. chor. with the basis and iambic termination) ; the 
close is a Glyconic. Horace uses this strophe nine times (I. 


6, 15, 24, 33. IL. 12. III. 10, 16. 1V. 5, 12). The basis 


ld 


CHORIAMBIC STROPHES. 285 


with him is always a spondee. The Asclepiadeans have a 
diaeresis after the first choriamb. Elision does not destroy 
the diaeresis, as I. 15, L8. | 


Vitabis strepitumque et celerem sequl. 


In IL. 12, 25, the diaeresis is neglected in a compound word : 
Dum flagrantia detorquet ad oscula. 


As an example take Carm. I. 33. 
Albi, ne doleas plus nimio memor 
Immitis Glycerae, neu miserabiles 
Decantes elegos, cur tibi junior 
Laesa praeniteat fide. 


Insignem tenui fronte Lycorida 

Cyri torret amor; Cyrus in asperam 

Declinat Pholoen ; sed prius Appulis 
Jungentur capreae lupis, 


Quam turpi Pholoe peccet adultero. 

Sic visum Veneri, cui placet impares 

Formas atque animos sub juga aénea 
Saevo mittere cum joco. 


Ipsum me melior cum peteret Venus, 

Grata detinuit compede Myrtale 

Libertina, fretis acrior Adriae 
Curvantis Calabros sinus. 


a 
——-vv—|-vy-v- 
x 7) _ 


eee ee YY ee Yee 


Asclepiadeum quartum. 


This strophe resembles the preceding, except that the 
third verse is a Pherecratean. Horace uses it seven times 
(i, t4,21,.23; 1 7, 13.. TV. 03).. Here, too; the- basis 
is always a spondee, and the first two verses have the diaere- 
sis after the choriamb. 


286 IONIC STROPHES. 


As an example take Carm.,I. 5. 


Quis multa gracilis te puer in rosa 
Perfusus liquidis urget odoribus 
Grato, Pyrrha, sub antro? 
Cui flavam religas comam 


Simplex munditiis? Heu quoties fidem 
Mutatosque deos flebit et aspera 
Nigris aequora ventis 
Emirabitur insolens, 


Qui nunc te fruitur credulus aurea: 
Qui semper vacuam, semper amabilem 
Sperat, nescius aurae 
Fallacis! Miseri, quibus 


Intentata nites. Me tabula sacer 
Votiva paries indicat uvida 
Suspendisse potenti 
Vestimenta maris deo. 


B. Ionic Strophes. 


Many of the Anacreontic poems, so called, may be divi- 
ded into strophes. They have not, indeed, a fixed close ; 
nevertheless the strophic structure is readily recognized part- 
ly from a particular verse returning after a certain number 
of verses, partly from a pure dimeter ionic. appearing ina 
particular place, partly from the interpunction and the sense. 


Carm. XX XIX. (m7) belongs to the first kind : 
o ce amet. , \ ai 
Or eyo) mi TOY OIvor, 

0SE9) Tied ~. > a..3 
Tor éeuev ntoo tavdEv 
vv va» Movous 
V~ GoyETie Liyaivew. 
er Lee) \ , ‘ } 

Or eyo 210 TOY olvo?, 
‘Anoviatorta meéoyrae 

, 4 
Tlohupoortdey te Bovdat 
5 © , 7 
Es ahtzrvnmovs antas. 
74 eye \ , \ 3 
Or ey@ miw tor oivor, 
Avoinaiyyor tore Baxyos 


IONIC STROPHES. 287 


Tlohvar gow w év avoous 
, , 
Aovee neon yarocas, x. t. 2. 


Carm. XLII. (u’) belongs to the second kind : 

TTodéa piv Avorioov 
Didonatywovos yoostas’ 
Dida d°, omotay éqyfov 
Mera ovunotov huoivtor 

StEepavioxors O° vaxivOwy 
Kooragoww aupimds&ag 
Mera nagdirwr aOvoew 
Dio walora mavtoy. 


DIdrov ov 015" Euov Ht00 
DidohowWogow yhorrns. 
Devyw Behera zoe 
Ltvyko wayas maooivovs. 


Tlolvzwpovs nate Saizas, 
Neodyleow auc novos 
‘L710 Baogiz@ yooevor 
Biov jovyor groomer. 

In Carm. LIV. (va’) the strophe consists of five verses the 
last of which is always the pure dimeter. The fragments of 
Anacreon in Stob. flor. p. 599. Ges. and Athen. X. p. 427, 
A. are strophes of six lines, in which the last verse but one 
always consists of the pure dimeter, as, 

TTohtot per juty dn 
Koocagot, xaoy Sé Aevxor 
Xagiecoa 8° ovx & “HBy 
TTaoa, ynoaheot 0° odorzec: 
Divzeoov 8° ov éct modhog 

Buocov yoovos Aéheumean. 

To the third kind belong for example Carm. IV. (2’), V. 
(uB'), XXII. XXII. (¢0’), XL. (As’), and others. 


288 CHORAL COMPOSITION. 


CHAP? ER. VY: 
CHORAL COMPOSITION. 


The form of those poems which, upon certain solemn occa- 
sions, were delivered by an entire chorus, or single persons 
with the accompaniment of music, song and dance, we call 
choral composition, The religious songs at the festivals of 
the gods, especially of Bacchus, the festive and mournful 
songs in honor of distinguished persons, and the melic part 
of the dramas belong here. What distinguishes these poems 
above the others, is the greater variety and bolder structure 
of the rhythms. 

We divide them, according to their external form, into anti- 
strophic, avtiotoogiaa, and “free choral songs, dnohelopera. 

We call antistrophic choral songs those which are divided 
into single strophes, of which always two correspend, zazt@ 
oyéow: wn A; BB; povoozpogiaa, and which are frequent- 
ly preceded by a third, as mvomdos: BA A, 2oomdina, or 
interrupted by a peaipdie : ABA, pespdiad, or followed by 
an ézmdog: A AB, empdtatt, Such au union of three strophes 
into a whole is called a TOLLS eta). Four strophes, also, 
may form a whole: A A A B, TETYUS exdizn; ABBA, 
mahimdinn; A BBC, megupda, A whole of five strophes 
is called a mevtas Enqpounh. The zgrég is the most common. 

In the free songs the rhythms changed, the same verses not 
returning in the same order. 


A. Antistrophic Composition. 


It was employed by the Dorian lyric, the tragic and older 
comic poets. In Pindar we find only examples of strophes 
and antistrophes, and of strophes, antistrophes and epodes ; 
and in the same poem the same strophic trias is repeated. 
It is probable that he follows in this the older Dorian lyric 
poets, Aleman and Stesichorus. The former is, however, 
said, according to Hephaestion, to have written poems which 
consisted of fourteen strophes, of which the last seven had a 
different measure from the first. But in the drama each 
strophe and antistrophe occurs but once, and if the choral 
song consists of several pairs of strophes, each has its own 


CHORAL COMPOSITION. 289 


measure. (AA, BB,CC;D,AA,BB,CC;A A, BB, 
CC, D). Usually the antistrophe follows the strophe with- 
out the intervention of the dialogue; there are, however, ex- 
ceptions from this, as Aesch. Sept. 2U08—207, 211—215; 
219 —222, 226—229; 417—421, 452—456; 481—4x5, 
521—525. Soph. Philoct. 391—402; 507—5I18. Arist. 
Av. 451—459, 539—547. The antistrophe is still more 
rarely entirely wanting, as Soph. Trach. 205—224. 

The rhythm of the choral songs is of course influenced by 
the subject of the poem, and the songs are as different with 
regard to their form, as the subject is various. ‘I'he musical 
mood and the dance, too, were adapted to the subject and 
form. ‘Che Greeks had seven principal moods, the Dorian, 
Acolian, Lydian, Mizolydian, Hypolydian, Phrygian and 
Ionian. ‘These moods are very different in their character. 
We know them from the statements of the ancients only, 
who frequently describe their effect in a contradictory man- 
ner. Each mood had its appropriate rhythms. 

The Dorian mood had a serious manly character, whence 
it was used in poems in which equanimity and composure 
prevailed. Rational dactyls and grave trochaic and iambic 
dipodies (Epitrites) form the ground rhythm in poems of 
Dorian composition. The dactyls are mostly trimeters, 
more rarely dimeters, tetrameters and pentameters. They 
are all catalectic, and indeed in the middle of the verses com- 
monly in disyllabum; at the end in syllabam also; whence, 
if a choriamb stands as the close, it is to be considered a 
dimet. dactyl. cat. in syllabam. The anacrusis is always 
monosyllabic and long. Cretics occur as closing rhythms, 
and are then to be considered as catalectic trochaic dipodies. 
Logaoedic series, anapaests, ionics, dochmil, are entirely 
excluded from purely Dorian poems. Bases and ecbases oc- 
cur, but usually ina spondaic form. Resolutions of the arses, 
and contractions of the theses are rare. At the end the short 
rarely stands for the long. Proper names, however, allowed 
many liberties. 

The Acolian style was the opposite of the Dorian ; Heracl. 
Pont. in Athen. XIV. p. 624. D. mentions the oyzo0¢ as its 
principal character. Its character is voluptuous fulness, pas- 
sionate quickness and the boldness of genius. ‘This charac- 
ter shows itself rhythmically in the frequent use of irrational 
dactyls, logavedic, iambic and trochaic series, which are not 
to be measured by metres but by feet (from the dipody to 

25 


290 CHORAL COMPOSITION. 


the hexapody). The Aeolion style delights particularly in 
the forcible collision of arses (antispastic composition) ; 
whence dochmii occur prefixed to other rhythms. ‘The 
verses commonly begin with a rising rhythm; whence ana- 
cruses, iambic bases and anapaests frequently occur in the 
beginning. Resolutions of the arses are especially frequent. 

The Lydian composition stood between the Dorian and 
Aeolian. The chief character attributed to it is soft ef- 
feminacy and grace, which sometimes, however, degenerated 
into weakness. It is said to have been used in particular for 
songs of lamentation and supplication. ‘The ground rhythms 
were short trochaic and iambic series (particularly ithyphal- 
lics and tetrapodies), Glyconics, Pherecrateans, longer dac- 
tylic and anapaestic logaoedic series, bases which were fre- 
quently repeated, choriambs, cretics. ‘The arses occur re- 
solved not so frequently as in the Aeolian, but more fre- 
quently than in the Dorian style. 

The Mizolydian and Hypolydian were subordinate species 
of the Lydian. Plato mentions with regard to the Mixoly- 
dian that it was used for songs of Jamentation. 

The Jonian, which Plato rejects as effeminate, but Hera- 
clides blames as harsh and rough, was frequently employed 
in tragedy. lonic rhythms, especially in a pure form, and 
choriambs seem to have been the principal measures. 

The Phrygian mood was the expression of a bacchanal 
excitement, of the highest enthusiasm; usually, therefore, 
in dithyrambs and similar enthusiastic songs. ‘The prevail- 
ing measures were cretics, especially in the form of paeons, 
dochmii in systematic succession, choriamnbs with frequent 
resolutions, ionic rhythms, especially in the broken form 
(galliambs), trochaic also and iambic series, bases and ec- 
bases. 

Witb all its variety of measure, a choral song, as a whole, 
must have an unity. This unity lies in the fundamental 
theme which is carried through the whole; for rhythms ar- 
bitrarily strung together do not make a strophe. The begin- 
ning and close in particular, must be distinctly marked. In 
epodic poems, the close of the epode must be stronger than 
that of the strophe or antistrophe. At the beginning, the 
rhythm delights in rising, exciting measures, as iambic and 
anapaestic anacruses, iambic bases, anapaests, dochmil; at 
the close, calming rhythms, especially catalectic dactylic se- 
ries, logaoedics, ithyphallics. 


CHORAL COMPOSITION. 291 


The more marked the character of a choral song is, the 
more complete is its composition. Pindar attained the highest 
perfection in the structure of strophes. ‘The whole strophic 
system is to be seen in the tragic choral songs. 

It is not possible to give definite rules for the division of 
rhythms into strophes. A correct feeling, sharpened by care- 
ful exercise, must judge here. A strophe must have a satisfac- 
tory close; where this is wanting, the strophe cannot possibly 
end. A strong interpunction occurs usually at the end of a 
strophe; yet there are exceptions; compare P. 1. ch. 11. p. 41. 

With regard to the division of the single verses in the 
strophe, it is most imporant to ascertain the verse-endings. 
The indications of the verse-end are found, partly in the 
rhythm, partly in the metre, and partly in the subject. 

The single verses of which a strophe is composed form 
either a single whole by themselves, and as such have their 
introduction, their principal rhythm and their close; or they 
arrange themselves as an introduction to a succeeding verse, 
or as a close to a preceding one. Such verses provided 
with their own introductions and closes for the most part 
occur in the more artful structure of the Aeolian and Lydian 
strophes; in the more simple Dorian strophe, sometimes the 
introduction ts wanting, sometimes the close. 

The following verses may serve as examples : 


Pind: Olymp. 1V> I. 


/ 7, / sie 
{ 


VY mY ee eae YU ee Oe — Mae VY ee YY 


clausula. 
Eldaryo vzé orate Poortas axapavtonodos Zev" teat yuo 








ey anen numer. primar. 


COKE. 
Pind. Olymp. VIII. 1. 
eparch. | num. prim. | claus. 








Mateo w yovooctepavay &éOhov Ovhuurta. 
Pind. Pyth. II. pee: 5. 


a /, a. 


bor top. el, 
num. prim. 
~ be ~ > , \ me - 
Qsor 0 eqetmais [Sova parti tavta Boorois. 


YY me MY ee 


eparch. 











A. || claus. 





292 CHORAL COMPOSITION. 


The following rhythms particularly serve as introductions : 
(1) The anacrusis, as Pind. Olymp. III. 2. 


/ 4 


van A ay iti sapeag a gs y+ 
Kiewar Azouyarta yeouiowy svyouct. 
(2) The trochaic basis, as Aesch. Agam. 9835. 
Cay / = 
/ a 4 
Vaupias axnatcas naorBnoev, ev0? vv “hor. 
(3) The iambic basis, more exciting than the trochaic, as 
Eur. Hel. 1139. 


VIS. / 


Booty waxootaror mévus evpsir, 0g ta Geo Eo00n. 
(4) The trochaic basis with the iambic anacrusis : 
_ >< _— 
as Aesch. Suppl. 538. 
x / / = 
TTadaor 3° ets tyvog wetéotay paréoos avPovomovg énwmag. 
(5) The trochaic basis with the disyllabic anacrusis : 
x — 
-~ —~ (dimeter anapaest. cat.) 
as Pind. Olymp. IV. 1. 


/ / / / 


ELatio vatorate Boortas axapartonodos Zev? tea yao 
COO. 
(6) The trochaic basis repeated, as Pind. Nem. IV. 6. 
2). GY , = 
Pia 3° éoynatov yooridtegor Brorevet. 
7) The double trachaic basis with the anacrucis, as Pind. 
Pyth. VIII. 20. 
>, aa, oat, = 
‘Tror noite Tapvacids Awguet te x0 uo. 
(8) The iambic and trochaic basis united: 
-/xX- : 
»—-—» (antispast). 


CHORAL COMPOSITION: 293 


as Aesch. Sept. 347. 


PENS TG, 


TI 0g avdgog 8 arne opi KOUVET EL. 
(9) The anapaest, as Pind. Pyth. VI. 4. 


nd 4 / 


XPovdg aévyaov moogoizousrot. 
(10) The anapaest with an iamb following: 


? 


vv —v— (Anap. logaoed. simplex simplic. iamb. ac.) 
as Pind. Olymp. XIII. 5. 
Ug x = 


TIo69veov [otedavog ay uoxovgor. 


(11) The cretic or the catalectic trochaic dipody, as Pind. 
Olymp. VIIT. 21. 


w 


"Ev0a Swreoa Awe Seviov. 
(12) The iambic dipody, as Eur. Med. 431. 


\ 3 \ oy” ~ 
Dv 8° &% wey olxwv matowoy enlevoas. 


(13) The dochmius, as Pind. ell I. Ep. 4 


Td LA — 


TloceW ar, eet vw xa 0000  iberoe 2 ékehe Kiw0-o. 
(14) The trochaic dinady, as Pind. Clee: VIII. 3. 


5 ie ~ , 
Eunvgos TEXUCIQOMEVOL TLALOUTELOWYT CLL Awe #OYLAEQHVYOD. 


15) The trochaic dipody with the anacrusis, as Pind. 
Olymp. VIII. 2. 


Agonow chadvelas wa parties avdoes. 
(16) The catalectic trochaic tripody, as Eur. Andr. 123, 


Thawor, cuge déxtowy Sivpoyr Enixowor. 
ne 
5 


294 CHORAL COMPOSITION. 


(17) The iambic tripody, as Pind. Isthm. VII. 10. 
=n? In x 7 
Ve Tartadov Wor napa ts etoewev Cup Peos. 

(18) The trochaic tripody (ithyphallic), as Pind. Olymp. 
I. Ep. 3. 

Tov peyacd Eris &oaoouto yamozos. 

Besides these introductions (eparches) which occur most 
frequently, others are used, though more rarely. 

The usual closes are the following: 

(1) The catalexis, the monosyllabic which corresponds to 
the anacrusis, and the disyllabic which corresponds to the 
basis as an introdnetion. 

(2) Logaoedic closes: 


/ 


ae YY as WY ow 
— VM ee Ye 


me ee ee ee 


Examples: Pind. Pyth. I. 2. 


Xa / X~- v7 7 v 


Pa om Ra ae ie ee eal ae OY ie SY mee 
Téuevog “Ageos, ardour innwy te cidagoxaouar Saipo- 
vel TOOGOL. 
Ib. Ep. 8. 
PRs ee x = 
Tov eveoyécuy ayurais auorpais éxowyouevovs tivecO ae. 
Pyth. VIL. Ep. 4. 


/ 4 
, Fol ae coins Wat b ~ ff 
Toko.ci t ‘Anoddwvos: Og Evperet vow. 
Nem. VII. Ep. 1, 5. 


Xan , Xan / 


ea ee ee ee _ 


CHORAL COMPOSITION. 295 


Aoyor Odvccéos 7 maDev Sie tov adveny yevéoS “Opyoor. 
(3) Trochaic series : 
Pes 
—» trochee, ecbasis. 
(4 
—-’— monom. troch. cat., cretic. 
pian 
—-’-—~» monom. troch. acat. 
/ 
--—--— tripod. troch. cat. 
] oe 
—--»-—~ tripod. troch. acat., ithyph. 
y ener d 
—-—-—-— dimet. troch. cat. 
¢ rage A ea, . 
—v—v+—~-~ dimet. troch. acat. 
Pind. Pyth, 5. 2. 


/ / 7 / A= 
Svvdixov Moar uréavorv' ras anover pév Bao, ayhaias 
OY. 
Olymp. V. 1. 
2 2 / 15 os: 
‘Luyhav aosrar nat orepavav aotov yhunvy. 
Olymp. XIII. Ep. 3. 
/ rae / lad 
Sov Bonhara yaoues SvIveauBo. 
Pyth. XI. Ep. 3. 
/ / “, 


Ey t@ Oouovdaios éuvacer eoriar. 


Olymp. V. 3. 


f ¢ / ara 
Axoporronodses t annvag Séxev Pavpuos ve doa. 
Nem. I. Ep. 3. 


/ , , ym od 


me ee ee ee ee ee 
d 


a 


296 CHORAL COMPOSITION. 


\ ¢ \ A 5 ~ 
Aaov inmayuor Gana dy xat Odvurtiadov prdrog ehacar 
YOUGEOLS. 


Isthm. I. Ep. 4. 


us / / li = 
UT Kastoge(@ 7 lohaov évaguosar uw vuro. 

Besides these, other closes occur, although less frequently. 

To the rhythmical indications, according to which each 
verse manifests itself as a whole or an essential part of a 
whole, must be added the metrical indications also,—the hia- 
tus and anceps. Although the hiatus is a sure mark of 
the verse-end, yet those cases must be excepted in which the 
hiatus is permitted in the middle of the verse (P. I. ch. &. p. 
39). But if'in longer strophic poems, as those of Pindar, even 
the allowed hiatuses occur frequently in one and the same 
place, the probability that there is a verse-end becomes very 
great. A single hiatus is sufficient in the tragic and comic 
poets to prove a verse-end, since they are more careful to avoid 
it than the lyric poets. In dactylic verses a short becomes 
sometimes long by the force of the arsis (P. IL. ch. 2. p. 82); 
such a syllable, therefore, is not to be considered as an 
anceps. 

The hiatus and anceps were frequently by later gramma- 
rians removed by the 7 or 7 fulcrum; when either occurs 
frequently in the same place, it is to be removed. 

Asynartete verses, which belong only to a lower structure 
of rhythm, are not to be admitted in choral songs; in lyric 
poets, however, although very rarely, the hiatus occurs at 
the juncture of the series, as Pind. Isthm. I. 16. 


¢ lA if / — 


mam | ave ev ee 
‘H Kactoget 7 lod.aov evaouosat ww vuro. 

With every verse a word also must end, whence broken ver- 
ses cannot be admitted. Apparent exceptions occur in series 
systematically repeated which, for this very reason, are not 
to be considered as verses. ‘The separation of a verse in the 
juncture of a compound word is equally wrong. 

Apostrophized words at the end of a verse, with few excep- 
tions, as Pind. Olymp. HI. 25. 


\ FF 9. J ~ , A tA >] 
An tot és yaiar mogevey Ovmog won 
Lorotay vw xt. d. 


CHORAL COMPOSITION, 297 


rest for the most part on incorrect readings. The elision, 
however, at the end of a series is not offensive in series sys- 
tematically repeated. It is not considered well to close a 
verse with a word that belongs closely to the following; 
whence articles, prepositions, conjunctions, interjections 
occur but seldom at the end of averse, as Soph. Trach. 
1009. 
e ~ b) Z| ¢ , ) Bh 
Hrrai pov, torotoi. 70 avd? gone. moder &or, w 
Tlavtwr Eldavoy adiuotazot aveoes, ove On. 
Eur. Troid. 315. 
2) ‘ A ~ og ? 's\ 
Ene ov, wareo, emt Saxovot xc 
Toot tov Gavorvta nuréou maroida te. 
Soph. Phil. 184. 
STUATOY F Lacioov meter 
Onowr, & t odvraig onov. 
Apparent exceptions occur in series systematically repeat- 
ed, as Soph. Oed. Col. 684. 
Apyaiov orepavap , 0 TE 
Xovouvyys xedx0g* ovd av- 
MVOL xOHVEL uLyvOovoW. 
Eur. Troad. 193. 
Nexvov cueryvor ayalw , 7 
Tay naoa mp00voos gudaxcy narézxove , 
"H naisor Ooenteg, & Tootus. 

In the same manner a word belonging closely to the pre- 
ceding should not commence a verse; here, too, single excep- 
tions occur, as Pind. Isthm. VII. 10. 

Emeidy cov vmeo ueqpadas 
Te Tartadov UIor nage tig ergewev cpp Geos. 
Nem. IV. 64. 
y > , p | A 
Ovvyas okvtatoves axpar 
Te Sevotatwr oyacaiy odortar. 

The interpunction, also, and in scenic poems, the change 

of persons are frequently indications of a verse-end. he 


298 CHORAL COMPOSITION. 


poet, however, often places purposely one or several words 
of the sentence at the beginning of the verse, in order to em- 
phasize them more strongly ; compare P. I. ch. Lf. p. 41. 

It is finally to be observed that in scenic poems sometimes 
in the same place, especially at the beginning or end of a 
strophe, like or similarly formed words occur. This applies 
especially to interjections or phrases taking their place. 
As examples take Aesch. Prometh. 530; 600. 


"E é, olatoniaty O& Seluate Sedaiar, 

"E &. oxotjuator dé vyctiow atzlas. 
Aesch. Agam. 1162, 1173. 

Ti code ToQOY UyYuY EMO EGHUtGO. 

Enoueva moorevotat TO EQnutoo. 
Soph. Ant. 360, 370. 

Tluvtom0g0s, kmogog ex ovdév Eoyerat. 

‘Ywinolis, dmohs, 0t@ tO ay xadOr. 


If all the criteria of the verse-end fail, then the division of 
the verses remains, of course, doubtful. 

If the strophe has been divided into verses, it remains to 
determine the rhythms of the single verses. Here, too, no 
general rules can be given, but a correct feeling must de- 
cide. Often an entire verse or a part of it may be arranged 
in different ways. In this case that rhythm is to be se- 
lected which best suits the character of the whole poem; and 
the adoption of unusual measures should be particularly 
avoided. 

Several consecutive shorts or longs cause great difficul- 
ty. Analogy is here the safest guide, as Soph. Aj. 1185. 

/ / / 
Tis tou véurogs &e more LiSéu mohuaLayutor ecéov KoVOUOS. 

Here the first six shorts may as well be a trochaic as an 
iambic dipody, a resolved choriamb, an iambic and trochaic 
basis; but it is clear from the following verse: 

/ -) x 


ee ee Yee WV OV oe YY oe = Co 


Tav cnavotor ativ éuoi Sogvacdrtr, 
that they are to be measured by trochees. 


CHORAL COMPOSITION. 299 


Soph. Elec. 153. 


4 ay a a pone , 
Ovtot cot movra, TExVOY 


may be arranged in different ways, either as a dactylic 
rhythm: 


—------- tetramet. dactyl. cat. in syllab. 
or as an anapaestic rhythm: 
/ , d 
------- dimet. anapaest. cat. 
or as a dochmius with an iamb prefixed: 


4 t= 


The latter has the most probability, inasmuch as 160 and 
161 have also the same rhythm without the anacrusis: 
/ ‘add 
"O1Bwg, OV & ahewee 
Ta nore Mvxivaior. 


I. Antistropuic Soncs oF THE DORIAN LYRIC POETS. 


The first Dorian lyric poets of note are Aleman, Ste- 
sichorus and Ibycus. Of their works we possess only frag- 
ments, in which the dactylic-anapaestic and trochaic-1ambic 
rhythms prevail. I*or examples, we cite the following frag- 
ments : 


Alem. in Apoll. Lex. Hom. p. 407. Toll. 


».¢ , ~ 


ee Oe VB ee Ve ee 


/ Se A 


er me ee ee es 


300 CHORAL COMPOSITION. 


1s / / 


, xX / 
o 3.3 , , ? P \ , 
Evdovew & opsmy xopv@at te x Paoayyes, 
~ \ iv; 
Tlooves te xo yaoadyc. 
~ , a , ~ 
Mika & geneva F occa toEper uehowma yoiee, 
a 5 4 = 
Ojoes Ogecxu@ol TE nal yEevog UEhLoowY, 
F 7 f es “i UL 
Kai xvodud év BerPecot moopueas ado. 
Evdovet 8 olwvay pike tavumtegvyor. 
Stesich. in Ath. XI. p. 469. E. 


/ 


ee YO ee WY OW i VY OY ee VY ee VY YY ow VY 


/ 


me MM me YM YM ee YY oe YY 


PINE: 


ee ee YO ie OY OY ee VY OV ie VV ee VY YY ee Oe 


c UA 


SU mee MO ee YY ee YOY oe 


/ 


mee Oe VV ae YY Oe 


/ / 
¢, PD 
‘Achiog 8 “Yaequvidas demas eguateBave 
Xovoeor, Gow Se wxeavoto 
? , 5 We ~ \ , ‘ b] Go 
Hlepacas aqpizyd tevaug moti bevten VUATOS EGEUMES, 
st 7? y+ 
Ilo paréou xovediar t Kdoyor 
7 ~ VA c yy 
Tlaidsay te gihove 0 & & ahoog ea 
, \ ~ 
Augrvuiot xatéoxtov mocot mais As.’ 
In Pindar’s Epinicia, two principal styles may be distin- 
guished; the Dorian and Aeolian. ‘The Lydian holds the 


middle place between the two, approaching sometimes the 
Dorian and sometimes the Aeolian. 

Among the undoubtedly Dorian strophes, Bockh classes 
Olvinp: Wis Pybe IT LTV, XIts Nem: TekX. XI: Usthm: 
ie 0 eae Bie as 

We take as an example Olymp. III. The elements of 


CHORAL COMPOSITION. 301 


these as of all the Dorian strophes are very simple. ‘They 
consist here of grave trochaic measures and dactylic trime- 
ters. ‘The simplest trochaic element is the iambic anacrusis, 
which, however, here always appears as a long, V. 2, 3, 4. 
Then the trochaic element increases in the following grada- 
tions up to the trimet. acat. : 


—~— monom. cat.: V. 2, 4. Ep. 3. 

—-~-—~» monom. acat.: V. 1, 3. Epod. 2, 4. 

—~—+—~— dimet. cat.: Ep. 2. 

/ aa a 

—v—-v—-~-—~ dimet. acat.: Ep. 1. 

/ ay i ae 

—v-v—v—+—~-—~ trimet. acat.: V. 4, 5. Epod. 5. 
The long is everywhere used in the even places, except 

V. 14 and 26. 

The dactylic element consists of 


—v-—-~-»— trimet. cat. in syll.: V. 1, 2. Ep. 1, 4. 


-vv—--+v—~ trimet. cat. in disyll.: V. 1,2, 3,4. Ep. 2, 3, 4. 


The closing thesis of the latter appears always as long. 

The verses always end with the arsis, except the closing 
verse of the strophe and epode, which, on account of the 
close, ends with the thesis ; but this also appears everywhere 
as long. 

The theme of the whole lies in the first verse. 


/ / r v 
Str. eee OF I ANG SW ces omen A eel ms poem NS gees NR ee 
/ i 
as fore ANP ND set ND” WI aes ces pera Ps recs 
if , / vu 
Fe Ee RS DN 9 ea a ee Ree Uy rey SENS 
/ , , / /, es 


302 


Epod. 


O70. 


? 
“VT. 


éma)0. 


CHORAL COMPOSITION. 


va — 7, f ¥ 

we ee ee ae ee i ee YY ee 

/ / / iy “ 
eee ew ee Oe ee 
/ / / asd 
ee ee ee 
/ / a7, =A 
ee ee ee ee ee eee) 
7 / / 


A 


2 ~ ie b 
Tvrdapidas te giroSelvog adsty xzaddindoxaug 0 
¢ 
Edevee 
y A 
Kiewer “Azouyarta yeouiowy svyouce 
Q at, 
ao , Pp) 
Oxjowvos Odvumorizay vuvoy opdocus, axumarto- 
modo 
ao ay ~ >) ZA / 
Inawy uwtov. Moica 5 ovrm tor maQeoTa Mot VE0- 
CMG. 
Olyahov EVOOYTL TLOTOY 
Awpiy porary évaouosc mediheo 


e) , > \ , \ & U wy” , 
Ayhaozwpmor. emer yuitaot usy Cevy evteg emt otE- 
puvot 
id ~~ , 
Ipaccorti we tovto DedSuatoy yoeos, 
a ~ 
Doouyya té monoyaovy zat Pour avdoy énéwv vE 
DEow 
, \ ~ ig , 
AtvnowWunov madi ovupisac mpenortas, « te Hic 
Be ~ ” 
HE YEYOVEY* TAS ATO 
, , Pa cre | , lA > , 
Oevuooor vicoort ex avrIowmovs aowat, 
a a 6 2 a » , ’ ye 4 } 4 Oo ‘ rw 
Qu cm, zoaivor epetuus Hoazicos mo0tEous, 
AS Cm " , 
‘Arpexis Ediavodtzag ylegagoy Aitwhos arno vwo- 


Oev 
oe | A - id fa) 2 } ; es fe , ) , i. if 
Ue ZOUCLOL pa wT] y LUVKOYLOOK “00 LOY EAKIMO* TAY 
TLOTE 


oy > x ~ lead a” 5 , 
Jotoov ano oxiaoar mayay evemney “Augitpvariddas, 
Mraua tov Ovivuata xaddiotoy coor. 


Bockh finds an approximation tothe Lydian in Olymp. VI, 
Vl, Ville ols Pytho BX Nema Vac. 


CHORAL COMPOSITION. 303 


As an example of a strophe thus modified, take Olymp. X. 
The elements are almost the same as above. 


Trechaic Element. 
g 


—*— monom. cat.: Epod. 3. 


, _ 


—-’-»+ monom. acat.: V. 1, 2, 3. Epod. 1, 3, &. 


—v—-—~-—dimet. cat.: V.5; Epod. 6, 7, 9. 
—v—-v—v-—~ dimet. acat.: V. 4,63; Epod. 9. 


—v—v-v—~—~»-— trimet. cat.: Epod. 4, 5. 


In the even places, the short often stands, as V. 6; Epod. 
4,5, 6,9. The trochaic arsis appears resolved Epod. 3. 


Dactylic Element. 
4 


—~»— dimet. cat. in syll.: V. 3. 


v 


—vv—~ dimet. cat. in disyll.: Epod. 8. 


/ 


—v+—v-— trimet. cat. in syll.: V. 2,6. Epod. 3. 


/ 


—vv—v»—-— trimet. cat. in disyll.: V. 1,4. Epod. 1, 2, 7. 


Besides the closing verse of the epode, several others also 
end here with the thesis, which sometimes also presents itself 
as a short. The collision of the arses in Ep. 3 and 9, is also 
to be observed. 

The principal theme again is found in the first verse. 


, L 

Str ee ND as cee ems A! NS Fasean ts NPN es eae 
, / a 
ee VY ae oe oe WY OV ae VY VY ae 
/ 7 


A / / — 


me eee 


304 


“rt. 


emo. 


CHORAL COMPOSITION. 


, , 
Se ee 

, / , ~. 
eh ee 
, , 


ipod. "83 eee = 


ee eee) 


, ib / 


a 


/ ia / 


SS eee eee 


, , / a! 


ee Ome Oe ea ss ee YC 


»” 5) , yey, o , 
Lortw arIoumols uvsuoy ote mhetote 
r”~ ” > >) i c , 
Xpyos, cot 6 ovoarior vdatov 
O fA) , ‘S } a 
uUpoloy, maidwy veqehas. 
> A ‘ , 43 . , ” 
Et 0 our mov tig ev mpacoot, peliyaoves VEG 
c , > S if 
Toreowy vozat hoyor 
, \ \ ¢ , > = 
Tedheta “at motov opx.oy bey nous “OETHIS. 


"Ag doryzog 8° alvog Odupmiorinxas 

Ovt0s GyxeitTal’ TH Wey GpETEOU 

Dioooa nmomavew e0 ener: 

Ex Geov S? avyo cogais avOei éouet mouniSeccu. 
Lod vor, Aoyectoatov 

Tlai, reas, ‘AyjoiSape, avypayius tvexev 


Sale Fe , , b) , 
Koopor emt otepar@ yovoeas ehusas 
€ ~ , 

Advpely xe.adjoo, 


CHORAL COMPOSITION. 305 


Tov Emtequeior Aoxoov yevecy udeyor. 
"Evda ovynopusur, éyyvacouae 
My wv, © Moioes, gvyokevor ozparor 
MyS° aneioator xadovr. 
‘Axpooogor dé nai aiynatay apisecbar* tO 7aQ 
Eugves ove aidov adionns 
Ove eoiBoouot Agorteg SiadiaSawto 79-08. 
Bockh cites as undoubtedly Aeolic: Olymp. I, IL; Pyth. 
iv Vi, VIE Vill. X10? Nem: VIL. 
As an example take Olymp. I. The two principal ele- 


ments of which the strophe is composed are light trochaic- 
iambic rhythms and dactylic-anapaestic series. 


Trochaic-iambic Element. 


Trochaic Rhythms. 


xX 

=*“monopod., basis: V, 1,4. Ep.2,. 6. 

== ipod: cat... crete; V.'2,. 7,9 (twice), 104 Epod: 3: 
4, 6, 7. 


—vave tripod. cat.: V. 6,10; Epod. 1 (twice), 2, 5, 6. 
—vaynrey tripod. acat.: Epod. 3. 
—veveve tetrapod. cat.: V. 3, 5, LI. 


Sea et es tetrapod. acat.: V. 7. 


f 


mv eveyone hexapod. acat.: V. 6. 
Tambic Rhythms. 
The iambic anacrusis: Epod 6. 
’— monop., iambic basis: V. 1, 2,9, 10,11; Epod. 1, 2, 4, 7. 


/ 


oe Wie Oi SY - hexap.: V. 8. 
26* 


e 


306 CHORAL COMPOSITION. 


Dactylic-anapaestic Element. 


Dactylic Rhythms. 
/ 
== dimet. cat. in syll.; choriamb: V..6, 75 Ep. 2,3, 2. 
=- =< «limet. cat, im disyll.t7V. IAs Bipods A, 


—vv—vv—-~—-~ tetramet. cat. in disyll.: V. 2. 


=" =~ = dactyl< log: “simpli. <dupltrochs-eat.: Vs 
Epody 6) 72 


—v-+-~-—-~ dactyl. log. simp. dupl. troch. acat.: Epod. 4. 


Anapaestic Rhythms. 


vv ==’ dimet. cat. : Epod. 5. 

The more frequent resolutions of the trochaic and iambic 
arsis in -V.:2,,6,.8,.9, 10, 12. Epod. J, 2, 6, are: to, be noted; 
the strong collision of the arses in V. 1, 2, 6, 7, 9, 10, 11. 
Bp ly 2, 3;4,, 6) 7: 

Lat x - 


Str. De ee YO ee OV ee es VY ae VY YY CL CO 


In lf Vi — 
GO me ee Oe I ie Ye 
Vv 
/ 
a ee ew 
x 7 _ 
a Va VY oY 
77 v 
eee ee YY Oe 
Zz a / / 
wee OY ee ees Yee 
Vv 
A / 4 
eee 
v 
In n 


NPI GF OY me Yee ee ee 


CHORAL COMPOSITION. 307 


v 


rhe 3 1A 
WS eee ae WY ee VY VV YY oe 
wv 
te hi In ~ 
ke es ee ee oe Ws ee 
Ltn i 
A 
. IN , i 
Epod. ra A DN ee ae ee eee, Sd Oe ell ey A a) 
a 
LAH A >. Oe ea ia ae 
Le te 
, / , -. 
pe ee a, ager 7 eae TS ek 
Jag n , - 
UW es an YW we aw WV aw WS oe WY ae YY oe Y 
/ 2p V2 4 
OD ee ee Yee YY ne 
, , Xa / ies 
ak a al ee ae Di 
Lp / 2 — 


ee Oe ee eee Ye 


4 ‘ (v4 i x \ 3¢ if ~ 
oto. Aowotor piv vdme, 0 SE yovoos aiomevoy mvQ 
a A J id 
Ave Siamoene vuxti meyavooos oye mhovtov ° 
Ei 8 ae0La yaover 
an , a 
Eddeat, pidov 4700, 
Myxé® adiov oxomet 
ey. 9 | , 3 eels A a Se 
0 DulmvotEpoy EV AUEVE PHEVVOY KGTQOY EQ WAS 
dv at€oog" 
Mi8 ‘Olvuntas ayova peotegoy avdcdcouer 
lef v4 , 
Oder 0 rodvgaros vuros aupiParderce 
Lopar uytisoot, xehadety 
Paaat Pele cies 6) Rinse , 
Koovov maid’, és aqrecy xopevous 
, ? «: , ¢ , 
Maxzatoay Légwvos eotiar, 


bp] ~ a PJ ? ~ 3 , 
cyt. OEworzeior 09 eugene oxantror év zohvpahy 
x ~ +t ~ 
Dinehica, Soemwy per xoguPas KQETaY UO Tua: 


Ayhaivero 58 nat 


308 CHORAL COMPOSITION. 


Movoixas &y aorta, 

Oia mailousy qpiar 

ns ‘ , b) Ni , 
Ardoss aut Caua toanslar. adda Awoiar ano poo- 

yy aC KLOV 
A 

Auupar, et ci tot licas ve xa Degevizov xaos 

if , ¢ \ if ” y, 
Noov vm0 ylunvtaras é0quE Poortiou, 
” Be a , 

Ore rao Adgem ovto devas 

2. 
Axevtyrov év Soomoit MapEyor, 

= Fee ax 
Koatet b& mooséuke Secn0tar, 


, , ~ , 
etd. Lvgazoovoy inmoyuouay Bactdja. Luumet S€ ot xd€0g 
5) , ae 
Evy evavooe Avdov Iehomog amount: 
~ \ 3 , 7 
Tov peyaoderns oaoouto yumoxos 
4 ~ 5 , ~ , Whe A 
IToseWar, exe vv za0-aoov hepytos ESehe KAwdw 
> , / Ss «sae: 
Edeparte padmor wor xexaduevoy. 
3 , \ \ , \ ~ , ee 
H Savuata monde, zat mov tt xa Bootor patw vaEg 
\ ~~, Ud 
TOV “hady Loyor 
\ i b) ~ ~ 
ASudaduévor wevdect moxthos Eanatoree wv9or. 


Of a mixed character are Olymp. IX, XI; Nem. III, VI. 
Take as an example Nem. III. 


Trochaic-iambic Element. 


The iambic anacrusis: V. 1, 4, 5, 6; Ep. 2. 
< 
—~ monop. troch., basis: V. 3, 4,5; Ep. 2, 3, 4. 


/ 


—--—dipod. cat.: V. 1, 2, 4, 7; Ep. 2, 5. 


A 


—--—~ dipod. acat.: V. 6,73; Ep. 1. 


7 


—-—~--— tripod. cat.: V. 2,33 Ep. 4. 


/ 


—-—~-—~ tripod. acat.: V. 2,5, 8: Ep. 2. 


Dactylic-anapaestic Element. 


/ 


~—~~-— dimet. cat. in sy]l.: V. 1,5; Ep. 3, 4. 


309 


CHORAL COMPOSITION. 


=~ —<-qimet, cat. in-disylls V6 ped 33, 


f 


—v»-—~»-— dact. log. simpl. dupl. troch. cat.: V. 3, 4, 7. 


/ 


aveu~—~'dact, log. simpl. dupl. troch, acat.: V. I< Ep, 4. 


/ 


ava wmv dact, lox, simpl, trip trock: cat. Ep..2. 


/ 


=v evey = dact, lor dupl. duplidroch: cat... ip. io. 


i 
vveet yee Tripod. Anan, cati> Isp... 


ov mes = ~-anan. loo. dupl. dupl. iam cat. “V8, 


/ 


Str. 
IA In 


we ee ee YOY oe 


Vv 
» 
7 Xa tp ~ 
fay ates) NP) es AAs CN IR as A a, 
/ aeehen hea 
wee Yee ee i YOY ee 
we 
/ / v2 a! 
on NF ee NS? es WANS) gem NA cee, cae: Gee 
/ / — 
FD cee ee Ye YY ee VY es VY ee VY 
y , —/) 
Ep. cme ee YY Yee Ye ees 
waita y / “s 
——_ VY — 


wv 


VYYY Gomme MYM ee VV ee oe 


xX / ey, _ 


we eee ee Ye ee 


310 CHORAL COMPOSITION. 


a / >. a / sg 


we ee ee VO ee ee Me VY ee ee 


wwe 


/ / : tps = 


NES Fees, PANE Res SF cena SONI aes SPEND! gees Sees core SA 


26) , ~ ~ ¢ , Q 
07g. £2 motmia Moica, wateo ameteoa, Miccomc, 
x, 7 
Tar sodvdevar ev isoounrvia Neuead. 
id] ~ J (zd A 
Ize0 Anpida vacoy Aiywar, vdatt yao 
Pa sis 9, 5 , , , 
Mevort ex Aownin ushiyaovoy textoves 
aah d / 
Kopor vearia o&0ev 0a Uaouerot. 
~ 4 ~ 9, x B] 
Avy Se moayos chido pev ad)ov* 
> \ A ~ 
Adovinia Se waht aowayr Gide, 
= & , > , 
LtEegavay aoetav te SeSotacay onador. 


> 4 2 if + i , ’ ~ ” 
art. Tus ag doviavy omace mytios amas amo 
” ? 5) = , ig , 
Aoye 5 ovpavov modvvegeha xpeortt, Ovyareg, 
va , pya 4 
Aouimor vuvor* yo Sé xeivov TE wy OGOLS 
, ig fi > Ve la 
Avow te xowaooun. yaoirta 8 eSeu movor 
, + , ¢ YA 
Xwoas ayalua, Mveudores wa mootegot 
Ka , ‘ 
"Quinoa, ov madaipatory ayoour 
\ 
Ovx éheyzéecow “AgiotoxzdeiSug tEay 
P) , > 3 5] ae 4 
Euiave zat aioar &v neguodevet pahay des 


ét. Tluyzoatiov otdhm: xanatwdéov dé mhayav 
"Axos vyinoov & ye Baduadds@ Nepéa tO xaddirxor 
EDEL. 
EUS gay zadog todmr ¢ eorzdte moope 
‘Avootus vaeotartag intpa maig ‘Agiotogarers* ov- 
HET 10000) 
‘Aparar udu novov vig Hoazhéog megay evuagss. 
The Lydian, which occupies a middle place between the 
Aeolian and Dorian, sometimes approaches the latter, as 
Nem. VIII; sometimes the former, as Olymp. IV, V, XIII, 
RIVesPethe xk. Nemeil, IV ce Isthim. Va, VEL 
Take as examples Nem. VIII. and Olymp. V. 
Nem. VIII. is composed of trochaic-iambic and dactylic- 
anapaestic elements. 


CHORAL COMPOSITION. oll 


Trochaic-iambic Element. 


The iambic anacrusis, as a long: Ep. 1, 4, 
oie 
—~ monop., basis: V. 1. 
—~— monom. cat., cretic: V. 4; Ep. 3, 5. 
Wine 2a 


—--~ monom. acat.: V. 1; Ep. 2, 3, 4, 5, 6 (twice). 


SS Ut = Giniety Gat. Vs. Lipa ks 


ee a et. deadline We ae 

, - 7 -— 7 - 

Sie Minne eS. EPIL! Cala t+ Vs, co .2ehs 

/ =) - 7 -— 7 - 7 

oe ie ee ee ie aa vine rn eritatm wOate LUC. 
/ 


=J—=~ = tripod. Gat? Ep.:4, 


Dactylic-anapaestic Element. 
/ 


aoe dime. cat inayat Vs sup: 

Bigs dimet. cat. in disyll.: V. 1. 

une aw So prinet. Cat; esl, 2 Nios. Bip. he. os 
Eire —~ trimet. cat. in disyll.: V.1,4; Epod. 8, 6. 
Soe monop. anap.: Ep. 3. 


Hine vi = ATIOG« ahip cites Vaids 


x— 7s / , at 
as 
Str ome Nf Yeisen NO” Nf aes Sew) comes NP (ees aM Sees NGA) ep 
° 
, -/ / / > 
we YW ie V ee VY oe e& eee Ses ere SAN Coes 
’ - 7 , / ~ 


i © © en Oo > 


37 CHORAL COMPOSITION. 


, / / _ 
SO Oe ee ee Yee OU ee 
/ —/ / — 7 - 
cee eee i Ye es YY OY Oe OY 

/ / Pal ted 


Ep meee eae Yee 
. 


/ / ~ 
eee Oe Oe 

Py. / — if. 
AR Toe” ter Fees eee ere WP NA eee 18 ANI eee NF eee A 

/ / = 
ee ee 
/ / / aaa 
eee Ne Yee 
7 / / , _ 
eee SF) es ee wee Ww ne I nee me YY ee 
/ / Yh / 7 hae 
eee eee ia ee eae i YY CL 


“@) , Ud be 2, 7 >) a) ~ , 
670. = 2oa norma, zaov’ Agoodizas “uBooctar puorutar, 
o oh , > , 
Ace mugdsryiors mudar ¢ epilowu ylepaoore, 
eh ‘ e , >) , A Ihe dd > 
Lov wev “MEools uvuyzas yeoot Pactaces, Ecegoyv 8 
ETEVEIS. 
i) \ “en ~ \ , x ” 0 
Ayuture dé xa1oov wy hava deta moog Enyor EAaOTOY 
+~ > , , 5) 2 
Tar gosiorav eomtor emzoateiy SivacOut. 


ave. Oiorzat Awe A (yivus Té Léxtoor TLOWMEVES cnt CpEmOANG Uy 
Kozotus Savoy : EOL MOTEV 0 viog Ovovus Bacidevs 
Xewi zai Bovduig couwrtos. modida vw m02dot ditd- 
vevoy tOEly* 
"ABOUT YAO HOOOY GOTOL MEOWULETMOYTOY 
"Hoehov ueivov ye netOec9 avakiag sxortes, 


Wd ~ > ld o ae A 
exmd. Ove xoavacis sv Aduracw aguolor ozouror 

—~ op > ‘i 4 12 7 oe S 

Or ce vva Xaaorav Tehonyiadce. 

c , 5 ~ ~ , , , >. 6 A , 

Iuecus Avaxou ceuvor yoratoy mods O vaeo pias 
~ Sime N ~ »} (4 i 

‘Actor 0 vag TOrS umtoua Geooy 
, , Sa , 

Avdsiar mitoay navayy Oe memo iver, 


CHORAL COMPOSITION. 313 


Asivos dicooy oradior xai muztods Méya Neueaiov 


dy che. 
Luv Seq yao TOL secaoa d1Bos arPoamorcr moppLo- 
- POTEDOS. 
Olymp. V. 
Trochaic Element. 
Xx 


—-— monop., basig: V. 1, 2; Ep. I, 2. 
—~— dipod. cat., cret.: V. 1,33 Ep. 2. 


vn. =~ tripod. ac., ithyph. : Vi-2, 3; Ep.-L,.2. 


Dactylic-anapaestic Element. 
/ 


—v~—dimet. cat, m syll.: V. 1. 

ete tetram. cat. in syll.: V.23; Ep. 2. 
erage er a tetr. cat. in disyll.: Ep. 1. 
ends dact. log. simpl. dupl. troch. cat.: V. 1. 


vv—vv—~v— anap. log. dupl. simpl. iamb. ac.: V. 8. 


x , , 
Str. eager asec TAD SND cece) eg NO AP ees “age: ee Ap 
xX / =_ / _ 
wee wee we Yee ee Yee ees Yee Yee 
7 / , _ 
NO Oe Yee Yee ee Yes Yee YY 
x , , _- 


Ep. ---ve ve rye ne eee ne 
2 , / / _ 
oto. Lwrylar doetay nai orepevoy &oror yhuxvy 
Tov Ovdupnia, Queavor Ivyateo, xandia yehovet 
‘Axuuortomodsos ¢ anyvas Séuev Pavpids te daga, 
27 


314 CHORAL COMPOSITION. 


?, A 4 
avt. Os tay cay noliv avfwor, Kopaouwa, Laoreopor 
A a , be A ¢ ~ ~ , 
Bowovg && Sidvpovs eygouoev eogtaig Peo ueyiorats 
¢ \ ‘4 27 , ¢ } 
Yx0 Povdvoiais ado te meuntoapEeoois autddouc, 
S d, 9 / , A \ ~ 
iad. ‘Inmoig juovoig re povaumvnia ce civ b& xvdog 
“Boor 
4 
Nixtoos avéOnzue, nat ov natéo’ “Anowr éxcovke 
A 
nol THY vEoLKoY EdOMY. 


Il. AnristrRopuic Sones oF THE DRAMATISTS. 


We distinguish in the dramatic songs, the ozéoiwa, which 
were sung after certain divisions or acts of the piece, by the 
whole chorus alone in the orchestra, and the songs of indi- 
viduals, which were delivered partly by the acting characters 
alone (wor@mdiat, 7% a0 oxnr7¢), partly alternating between 
the persons on the stage and those of the chorus (xompot), 
partly by the chorus in single voices (xoupatixa). 

The Stasima, which may be sometimes longer, sometimes 
shorter, are antistrophic, and resemble more or less the 
choruses of the Dorian lyric poetry already considered. 

We will cite a few strophes as examples, and arrange them 
according to the rhythms which predominate in them. 


l. Trochaic-iambic Choral Songs. 


(a) Strophes of a trochaic principal rhythm. 


Aesch. Eum. 490—498 ; 499—507. 508—516; 517— 
525. 


/ / 
, 
ClO a eS 


wy 


4 - / 


wee ee ee ee ee ee ee Yee 


/ a te = 


ame VU YY oe YY oe YY 


In / 


i ee ee ee oe) 


al 


GTQ. @. 


p) , 
art. a. 


oro. B. 


CHORAL COMPOSITION. 315 


c 
ot. B -v-v-e- 


wee ee Yee Yee 


Nov uaracteopal véov Feoptor, 
Et xoatyoe Stza re nat Baba 
Tovde ujteoxtovov. 
TTavcas 45y 708° ovo evyeoeie cvvaguocet Boo- 
TOUS. 
Tlohia 8° Ervpa maddoromre 
, , ~ ee Meese a 3 , 
Taten mooomever toxevow, meta t avdis éy yoorm. 


Ovte yao Bootooxdrar wawadooy 

Toad éepeowet xot0g tig éoypwatoor- 

lave’ épyow pogor. 

TTevoetut 8° tthdog tddoSer, moopavrav ta tov mé- 
has nuance 

Arnkw vadsoolv te moyxdov 

Ovuér ov BeBaun thapey 58 waray maonyoosi. 

Mysé cc xixdyoxsroo 

Zvupoog tetvupéevos, 

Tovt éxog Fooovuevos, 


5 
2 dina, 


316 CHORAL COMPOSITION. 


5, 
2 Foove ¢ Eouvoy 
Londinge d J Lae Jaa! A 
Lavra vig tay av marjo 
oY 3 
‘Hl texovon veonudns 
Oixtoy oixticat, éméet- 
dy mizvse Somos Sinag. 
g ef 
avt. B. "Eo® omov to Sewor ev 
A ~ 
Kai poevoy énioxonor 
Agimavet xaOnuevor. 
Evugeoet 
~ e 
LWOPLOVEy UNO OTEVEL. 
Tis dé wydev &v pac 
Kapdias avatoepar 
"H nods Bootds 9 opot- 
rae a , , 
wg et av ceBor Sinan 5 


(b) Strophes of an tambic principal rhythm. 


Aeschyl. Choeph. 22—31; 32—41. 42—53; 54—65. 
66—83. 


/ / 
7 
OTO. a. ae V oe Vi ow V om. 
4 / 4 
ime ee Me Ve Ye 
/ =a 4 — 
A 
IN val lal 
wey eV VV VV VY oe 
Xx / / 
me ee ee ee ee VY ee YY ee Yee 
fe ?- 
ee 
alt an / 


Wwe VY YY oe YY oe 


CHORAL COMPOSITION. 317 


Lar A n al ? 
oto. f. Sm YYW YY UY oY ee WY ee 
we ° 
? ae 


me ee ee 


tA 7 


wee me ee ee ee Ye YY et 


/ 4 vA 


a ee ed 


4 Uf 


Se cee Yee Yee 


/ 7 


ee ed 


vf > Say) = 


Sm ee ee ee ee Oe 


7 7 vA 
é0. me ee Ye Yee oe 


/ 


me me ee ee Ye 


ae Wf av / 


ee 


318 


O70. 


> fe 
avt. &. 


oro. B. 


CHORAL COMPOSITION. 


ae ee ee) 
vs 7 / 
me eee ee Ve ee 


aay & 


X , = 
Ladrog &x Souar éByy 
Xoas moonoumos okvyeior ody urea. 
IToéret maps powiow auvypois 
"Ovuzos ahoxt vEeotoMe. 
At aicovos & ivypoict Booxercu néug. 
Awogdooo 8 vpacuatovr 
Auxidss iplador vv ahyecu, 
Tgdaztegvot otodnot nénhov ayehactos 
Zvupopais mendnypevoy. 


A \ 

Togos yao 69009 —§ poBos, 
, > / b] 4 - 

Aopor oveipopartis, & vavov xotor 

, > i > , 
ITvéiwy, cogovuntoy aupoauna 

» ‘ 
Mvyoder Laue regi gobo, 
Fvvazelowow &v Somacw Baovg nizrer. 
Koirat ce cord oveigartov 
Ocoder ELanov vaeyyvor 
~ , 

Méugecd au cove yas vender megudvuws 
Toig xravovot ct éyxoreiv. 


, , » > id . ~ 
Towards yaow ayaow, &m0teomtor xaxor, 
3 A ~ ~ , AS Ie ; 

Ie yin main, pomeva pw taddet 


ave. B. 


CHORAL COMPOSITION. 319 


Avodeos yore. poBovpou 8 éog cod éxBadeiv 
Ti yao hito0v mecdrtos aipatos meq ; 
In \ \ (S , 
To navorlvs sori, 
> \ A\ , 
Ie xatacnagpat Sopoyr. 
> ~ 
Aydt, Bootocrvysi¢ 
Avogor xahvarovor Somovg Seonotar Pavarowst. 


, ‘ X 

LBas F tuayor, cduuatoy, atodepov to m9, 
At wror posvog re Sapiag mEegaivor, 

Ts > , : ~ , \ > S ~ 
Nov agioratas. popsttas de tig. to 6 evtuyeiy 

~ K\ ~ 
T0d &v Bootoig Seog te xa Oeov mhéov. 
c \ 2} Re] ~ , 
Pony 8 enioxomet dixag 
~ ~ A 

Taysia, toig per &y (pagel, 

A oe Adi of iZ 4 
Ta & ev wstoauyuic oxotov 

, A £ 

Méve yooriforta Bover* covg 0 axgavtog éyet vv§. 


? id A ~ 
Ai aipar éxnodev9 v10 yAovos toopov 
Ticas povog ménnyer, ov Svadpvdar. 
"Arn Swadyns* Siapeos tov aitvov 
Tlavaguérag vocov. 
Otyorte 0 ovtL vuppinoY ES@ALco” 

y ~ ~ 
Anos, mnogo. te mauvres &x mas odOU 
Baivovtes tov yeoouvoy 

, Tp cates ” 
Dovor xa0 aioortes lovoay. arny. 
> | A > ] , \ > , 
Evo 6, avaynxar yao auintohw 
\ td 
Osot moosiveyxar. & YuQ OlKOY TATEMaY 
Aoviuov égayor aicur, 
, \ \ 4 
Aino xo pn Stra, 
, b) > ~ ts 
IIpsenorte aoyais prov, 
5 ~ 
Bia peqousvay atyeoat, mixpor poevav 
, , 4 o saree] ¢ La 
Stvyos xoatovoy. Saxova 0 vy elmaroov 
Maratowt Secnotar tvyas, 
s , / ? 
Kova nivteow nayvoupern. 





* Vulg. duadyzjs ar. 


320 CHORAL COMPOSITION. 


I]. Dactylic-anapaestic Choral Songs. 
(a) Strophes of a dactylic principal rhythm. 
(a) Rational Dactyls. 
Aesch. Prom. 887—893 ; 894—900 (Dorian mood). 


/ 


ee See OY ee 


f / / an 


ee me ee ee ee ee YY ees 


é / / 


we meee ee ee ee YY ee 


f 


em eee ee ee 


/ 7 


eee eee ee OY ee 


/ / / 


ore. H cogos 7 cogos, os 
TIpazog év yroua tod eBaorace ua yhooog Siepvdo- 
Loynoer, 
Qs co upSsrou nad Exvroy agLotEvEr waxoD 
Kai pire tov mhovte@ Siadovatopéevoy 
Mize tov yérve wsyadvvonerov 
"Orta YEOVHTAY EQKOTEVOML YapOY. 


=) , , pre aes J 
avt. Myzore pymote pw, 
—-— Moiou Aeyéwr Ag evvareipav Woe méhov- 
cap: 
\ , V7 4 ~ 5 5 ~ 
Mise aLateiny yomere tii tov && oveavov. 
Taobao yao aoreoyavoga maodeviay 
Eisooao ‘Tove peya Suntopevar 
Avoniuvog “Hous ddareiag mover. 


(8) Logaoedic Dactyls. 
Soph. Elec. 1058—1069 ; 1070—1081. : 


/ , 


ee ee ee OY ee Ye 


ae Ae 2 


Soe ee YOY eet YY oe SY oe 


O70. 


> 
aAVT. 


CHORAL COMPOSITION. 


/ ) 


ee Oe ee ee 


/ 





EGO ANG aL f 
A — 
ee Oe YO ee ee 
Pe 
x , 
SS ee 
xX / 
oe ee ee OY OY ee Ye 
xX-~s 
ee Yee YOY ee eee 
/ 7} 
ee OY cee Yee YY ee 
-f 
ame WY OV ae SY aw VW ow 
j f 
ee SO ee VY ee YW oe ; 
yA =~ 
ome VV ee VY oY oe VY 
J 





\ ” : 
Ti covs avater poorimazatovg 
A ~ 
Oiwvovs Ecooaperos TOOMaS 
KySousvovs ag wv te Bra- 
Kg 4 o 
GTWOW UD WY T Ovacw év- 
or? b) by deed ~ 
Qwol, TAO OVHx EM LouG TEdovpE? ; 
2 > | =f \ \ 3 \ 
Ald ov tav Ms aotoanav 
A 
Kai tay ovoeariuy Ogu, 
, 
Aupoy ovx amovytot. 
ey , ~ 
2 yore Booroior pa- 
poe, xT ot BOMoOY oix- 
\ eA rare : eee , 
ToaY oma TOIg EOD “AtoEt- 
2 
Sais, ayopevta MEepovo aveidy* 


“Ou opi On ta pev &% Soucy 
Noosi, — ru 58 200g téxvow Sindy 
Mviomis ovx & e&toov- 
ToL Pidoraciq Stet 


o21 


B22 CHORAL COMPOSITION. 


, 5 , - 
Ta. Moodotos O& mova CaheveEt 
> J. \ > 4 \ 
H1Eextoa, tov Kel Mateos 
Asihuia orevayoue , 010g 
‘A navdvertos aydor, 
Ovte ti tov Dareiy mpoun- 
\ , A , € , 
OS TO TE wy PAEMEW ETOL- 
pa didvpav shove “Eot- 
’ , N a x , 
yor. Tis av evatols we Bhactot; 


(b) Strophes of an anapaestic principal rhythm. 
Aesch. Prom. 545—552; 553—560. 


ee ed 


/ 


OS me Oe ee ee Ye ee 


Us 


Oe ee ee 


/ 


, ww 
on -s - 
t See SM 2 o7 
ote. Deo onweg azaois 
, => / bs ~ , > , 
Xaog, @ Mihog, Elé, MOV Tig ana; 
gts, 
Tis épapegior aoykis ; ovd eédeoyxOns 
‘Ohiyodouriay axxvr, 
Looveigor, @ TO ~atayv 
> \ 4 3 S, 
Ahuov ~-— yévog gurertodtopevor ; 
Ovmote tar As apporiay Ovacay magesiact Bovdat. 
avt. “Evador rade cas 
IIpoctSov0 odoas cvyas, pounded. 
To Svapgidior 5¢ wou wéhog mposénce. 


CHORAL COMPOSITION. 323 
~ 4A 
Tod éxeivd & Or aug Lovrea 
Kai A£€y0¢ ov vpevaiovr 
7 
Torare yauor, OTe THY OMomeToLOY 
“Edvoig dyayes Howray avdor Samaota xowddentoor. 


fH. “Creéetie. Choral Songs, 
Aesch. Eum. 321—333; 334—346. 


, x 

ae NES cae AY Sremae SP taal tas eee 

/ x 

ee SY OV ee VY eee Ye Yes es 

, / 7 / 

ie (SO ems oes, SP aaa: eae Ne ces agg PE epee os 
Ve / 7 / / 
ee Le em en OP es Be eS 
In 

NI OS ee ees Yes 

IN In Xa / 


IO SO Oe OY ee YOY ee ee 


~ v4 Dida of, ‘a f ~ 
oto. Mareo a etintes, @ wareg, 
~ A ~ 
Nv§, adcoior xat Sedooxoow mower, 
Kiwe’. 0 Aatovs yao bis w azmor tiOjow, 
~ ~ 4 , 
Tord APulpovuEros ATHOXA, MATEMOY AYVIGUA xVQLOP 
govov. 

4 ~ 
Ent 88 tp teOvpevep 

i , A \ \ 
Tods pelos, maoaxona, mapapooe poevodadns, 
Y 3 > if 
Tuvos && Eouvoy 

~ , ‘ ~ 
Agopios Poerar, apoouixtos, avorve Boortois. 
ave. Tovto yao Lazos Startaica 

Moi’ éndzdwoer guaedag éyew, Ovaroy 
Toiow avrovoyios Svuuntowow merci, erin a, 

Ps id ~ + > Nv ~ € , 
Toig ouaoteiv, opo av yar vaeddy. Davov 6 ovx 

ayav éhevdepos. 


324 


* 


CHORAL COMPOSITION. 


Eni dé t@ teOvperen 

T0de péhos, magaxona, mapapopn posrodadys, 
"Yurog & “Eowiwr 

Agomos Qosror, apoouixtos, avora Booroic. 


Dochmit. 


Soph. Elec. 1384—1390; 1391—1397. 


O70. 


2 
aVT. 


In Ian 
Wwe VM a YY VV ao 
vf Fed. 
NID ces SS eee ee ae 
[—) rf / / 
Ro eee SP cea) Neh Nears 100 Cae Nh Temes UN eet 
wf 4, 


OO ee ee ee ae MY Oe 


eee ee ae Me eee 


4 
[deh ony mooveusto 
To Svogoictor aina poor “Aors. 
BeBaow cot Souatoy vadcteyor 
Meradpomot xaxor mavovoynuator 
“A puxtot xvyves, 
oY ) > \ | ee ee , 
Lor ov pwaxour Er cumEvEL 
Tovpor Goerar oveipoy aiopovusror. 


Tlapuyero yao évgooyv 

Aohiwnovg aowyos sicw oréyae, 

> lf \ > € , 

‘Aoyandovra mutoos sig eOwohuea, 

Neoxorntor aiwa yeipoty éyor* 

‘O Malas 58 2ais 

j= ~ ene , , 

Eouns op aye Sodov oxote 

Ke , \ EN / > Oe ere | , 
QUWAS QOS HUTO TEQUGA, HOVE ET KLUMEVEL. 


CHORAL COMPOSITION. 320 


IV. Choriambic-ionic Choral Songs. 
(a) Strophes of a choriambic principal rhythm. 
Soph. Ant. 944—954; 955—965. 
x 


/ UA it 


ee ee 


X , , 
awe ass om WV awe aoe VY YW aoe 
x / ».€ / XxX 
cee wee eee ee eee ee ee) 
xX , / / 
ee ee en ee 
xX / / / 
a ee ed 
x , , , 
eae ows oe WY ae oe WY OW aw =o oo 
, / 
ew ae WY ee WY awe WY ae 
-/ , , 


” s ~ 
oto. “Ezha xat Aavaas ovparor gos 
‘Ahiasu Séuag ev yahuodérous 
Aviais: AQUTTOMEDE O ep TUuBiiget Dauhkaup nacelevy on 
Kaitou nat yevec Titos, oO) mui mui, 
Kai Zyros tamevecue yovas yovoogvtovs. 
"ALL & pmoipidia tig Svracts Seva’ 
Te / Mae sae yd Lie as) 
Ovr ay vw ouBoos ove “Aons, 
’ L > ig , A 
Ov mveyos, ovy ahiztemol xehawat 
| Naes exqpvyoter. 
& ~ ¢ , 
avt. ZLevyIn 8 oSvyodowg mais 0 Apvartos, 
> ~~ \ , 
Hdavrev Bacthevs, zEotomols 
Ooyais, é Aovricov metowbde xataqoaxtos ev Seoum 
oy ais, OVVC 0WSEL LATHPOAATOS U0). 
o ~ , \ > , 
Ovrw tas waving Sewor amoorater 
> lg , ~ ee? , 
‘AvOnoOY TE MEVOS. ZEVOS EME YEO MOVIES 
. , | , 
Povo tov Oeov &y xEQTOMlols yWOoUIS. 


326 


CHORAL COMPOSITION. 


TTavecxe bey The évdEous 
Duvainas eviov ze mie, pihavdovs v 
Hoeoite Movous. 


Glyconics. 


Original form. 


Soph. Oed. R. 1186—1195; 1196—1203. 


OTQ. 


xX Gi X , 

ee cemes  -een NINA es ce come) eee | meee SNS cee ees 
/ 

— oe YY ae YY oe 

X / 

eee ee ee ee 

xX —~, 

Nd pe 

x / 

ae YY Le 

xX 7 

we YY ee YY OL 

ww 

x , 

eee i OY ee lw 

ww 

x- ~~, 


fd Ee ey 


—em YY oe 


To yeveut Poorer 

Keyan veces tou xual TO pndev Cocus EvUoUOUO. 
Tis ya, tis avno adgov 

Tas evdauporias PEEL 

‘H. cocovtov bcor Soxety 

Kai d0$err dnoxdivoa; 

To cov tor napddeyu’ Eywr, 

Tov cov Saiuove, tov cbr, 


CHORAL COMPOSITION. 


Thaporv Odi0da, Booray 
Ovdera waxaoito. 


ow are 
at. “Oorg nad vmepBodav 
Tok AE at ON OS ~ fic 5) 3 , oh 
OsEvoas ExoatIGE TOU mart Evdaiwovos OABOV, 
°Q Zew 3 a \ ig 
wo ZEV, KUT MEV PTLOUS 
Tir yapworeya mugdevor 
Xoenoumdor: Oavarav & &uc 
Xwoe MOOS aVécTE* 
B) 4g i \ , 3) 3 
ES ov nat ta peyiot étt- 
wadys, THis meycdaow &p 
> 
Onpacw avaccoy. 


Polyschematist forms. 


Eur. Iph. Aul. 5483—557; 558—572. 


Xn 4 


Xa / 


XxX r 


Sm ee eee YY ee 


Sot AO, 


GOS ame Ye YY me 


Xa X-—~7 


WO ae Va VY oe 


KX X—~v 


wwe ee ae Ve YY ee 


XA x yA 


RGSS ee ee ee YY oe 


XA xXx- 7 


WY me VM ae VY oe 


Xa xX / 


WIV ae NV ame VY 


327 


328 CHORAL COMPOSITION. 


os / 


Ce 


vw 


—-X—-—~, Xo ay 


mee ee ee ee Ye YY ee 


7 a, Ca 4 Xa 4.7 


we Oe ee YY ee ee ee YY oe oe 


ozo. Maxages ot petoias Oeov 
Mere te cwpoocvvas peté- 
oor héxtowy -Agoodiras, 


Tadaveie yonocuevo 
ae he : 
, 5] ¢ \ 
Mawouevror ostomy, oft dn 
Aidup "Eows 0 yovoox0mas 
ToS évreiverau yaot 
E yaoitoy 
\ \ > Mee 3 > , , 
To pev év evaiwre moTHO, 
a ~ 
To 8 én OVYYVEEL piotas. 
> , ¢c i 
Anevinw viv ameteoor, 
Kozo xadhiora, Palauor, 
” , (4 A , iS See: 
Evy d¢ wot peteia perv yao, moot 8 octot, 
Fame ~ 
Kai wereyouu tas ‘Agoosdizas, noidav 8 amodetuar. 


avt. Avaqopos dé pvaes Boorwr, 
Avaroonor 5é teomog. 0 8 60- 
D0g EoPhovy cues aist. 


Toogai ? ai maWevonerce 
, if > > A 
Méye geoovow és aostar, 
Z \ ~ 
To te yao aidsiod a copia, 
, ? J 
Tuv t éuddaccovoar eye 
, ¢€ \ Us ~ 
XEaoW UO yrouas EGOoaY 
\ 5] 
To Séor, &rOu Soka weve 
i, ~ 
Kiieos “ynouror prora. 
Méya we Onosvew agetor, 
¢ \ \ Ze \ > -) , b) Se 
Tuva wev nacre Komow zovacay, ev avdoact 0 av 
, 3 \ id ‘ , 7 y+ 
Koopos evov o pveiomhy dys pelo mokw avgee. 


(b) Strophes of an Ionic principal rhythm. 
Eur. Bacch. 519—537; 5388—555: 556—575. 


Str. 


CHORAL COMPOSITION. 


Hd GN 


MeO acs, eas Ne. ‘eat + 
CAS / 


IO ee ee YOY cee ee 


eee 8 ye 
DS ee ee VV ie oe r 
Lae ss 


GO ee YY oe ee 


ae J Tt 


GS me wee YY ee ee > 


ae ee 6 dal 


vya[oeee— 





|v-v—-— 


Z 7 | 
J 


aed or 


GY we ae YY ee ee 


/ 4 ok 


vya|[-vene 
|v-v—- 


/ / 


GG me me VY nee ee 


, / 


I me Ye YY ee ee J 


28* 





329 


330 


CHORAL COMPOSITION. 











Fp. eg 


SS ee ee YOY me oe 
a8 aoe 3 


] 
4 
} 


IO ee eee YOY ee ee 


GTQ. 


>. 
aVT. 


CHORAL COMPOSITION. 


Ker t/ / 


a i 


Ayelo@ov Ovyateo, 


Tlozve, eixagdeve Aigua, 
Dv yao éy oaig more mayais 
To Aws Boepos taBes, 


of, ~ \ > > 
Ore ujow mugog && a- 
, x id , ? 
Savatov Zevg 0 tExwVv HO- 
, Lig? => , 
MAGE VV, TKO eUPOKOES 


"Td, AvOveaup’, éucr, éo- 
ceva. TaVSE BAD vydvr* 


b Si 
Avagaiva ce 108, 0 Bax- 
(le, OnBais ovowatew. 


Si 
Sv bé pw w waxaioa Aipxa, 
Szeparygovors anodet 
OQuicovg Eyovour év oot. 


Ti dvaives, ci me pEevyes ; 
"Et vai tav Botovody 
Awwvicov yaow owas 

"Ext cot tov Booptov pedjoee 


¢ ao bi \ 
Otay ovary opyarv 

5 
Avagaives yForiov 


331 


332 CHORAL COMPOSITION. 


Pevog éxqpug re Soaxortog 
Hore Hevdevg, ov Ey toov 
> , , 

Egutevoe 0 ovtos, 


>) > ~ 
Ay QLOMOY TEOUS, OV GPa- 
ta Booreior, poriov O we- 
ze yiyart avrinadoy Peois, 


a Se Fag } , \ ~ 
Os eu ev Poozotot tay TOV 
Boouiov raza Svvawet, 


Tov éuov © évrog eye b00- 
waros 70y Fuacarav 


A ~ 
Sxorias xouatoy ev siourais. 
~ ly? x \ ~ 
Eoooas tad, wo Mos nai 
, A y, 
Avorvoe, covg moopytas 


Evy authiavow UVEYAMS § 

Mode yovoona twacowr 

Ava dvocov xavt "Ohvumor. 
Dovriov & ardpog vBow KUTHOXES. 


én). Ilodu Nicas toa tas 97- 
potpopov Ivecopoveis 


e) , Nv 
Qiacovs, wo Arve’, 7 
Kogupais Kopvatae ; 


Taya 8 &v roig modvdérdoeo- 

ow Ohvunov Pudauors, é- 
272) \ vd 

da nor Oogere zdaoilov 


Svrayev Sérdpea Movous, 
Svrvayev Ojoas ayoworas. 
waxap wo Ieoia, 


vd 


Beta o Evwos, Se 

ie A , 
Te yoopevowy awa Paxyev- 
aol, TOY T WxVEdKY 


CHORAL COMPOSITION. 3a 


Avupas Afvor ethic- 


, , he 
OOMEPaS MaWAdas ASE, 


ArdSiay ve tov evdaimovias 
Bootois 01.B080rar, 
Ilutéou te, tov éxdvov 
Eviamoy yoour vdacw 
Keaddioroit dimaivew. 


The pormdiu or ta &20 oxnrvys occur most frequently in 
the later tragedy. They are generally antistrophic, as Aesch. 
Prom. 574—588 ; 593—608. Eur. Orest. 960—970; 971 
—981; 982—1010. 

The zoupmol and xoupatizeé are likewise sometimes anti- 
strophic, sometimes not. The antistrophic commatic songs 
usually correspond with much art, and the single verses 
are equally divided between the persons and chorus. As an 
example take Aesch. Agam. 1072 sqq. 


i ie Cassandra. OTO. oe. 
A. Chorus. 2 trim. iamb. 
i; Cassandra. art. «’. 


A. Chorus. 2. trim. iamb. 
IJ. Cassandra. O70. Br 
B.. - Chorus.2 trim. 1amb. 
II. Cassandra. az. p. 
B. Chorus. 2 trim. 1amb. 
III. Cassandra. ozo. 7’. 
C. Chorus. 2 trim. iamb. 
III. Cassandra. av. 7’. 
C. Chorus. 2 trim. iamb. 
IV. Cassandra. ozo. 5. 
D. Chorus. 2 trim. iamb. 
IV. Cassandra. arr. 0. 
D. Chorus. 2 trim. iamb. 
V. Cassandra. org. &. 
E. Chorus. 2 trim. iamb. 
i HEo0OTO. a. 
V. Cassandra. az. &. 
E. Chorus. 2 trim. iamb. 
is MEecart. a. 
VI. Cassandra. ozo. rad 
G. Chorus. pesooze. f. 


304 CHORAL COMPOSITION. 


VI. Cassandra. apr. ¢’. 

G. Chorus. wecurt. le 
VII. Cassandra. ozo. C. 

H. Chorus. pecoorg. . 
VII. Cassandra. avr. ©’. 

H. Chorus. pecarz. 7’. 


As an example of a commatic song between the persons of 
the play without the chorus take Kur. Androm. 592—544. 








xX: , 
I. Andromache. —--+-v+-+--- 
x- 7 
Sane NA eect APY, vu OTQ. a ° 
>, Gr 
x- ~~, } 
A. Molossus. pew eid a 
Xa Q. ° 
xX- 7 ") 
Il. Andromache. -v-—vv—-v+— 
me Z 
— a awe VY VY , 
eS - O07 . 
B. Molossus. wes 
gaa 
VS ae Near | 
xXx— 7 7 
III. Andromache. -v-vv—-v— 
x / 
XA 
aoe a erent > OT0. oe: 
X / 
C. Molossus. Pee OS teh 0 ee 
x / —_ 
ae ee ae 
9{. Menelaus. Anapaests. Or0. g. 
I. Andromache. wat. Pi 


A. Molossus. Gre. ee ; 


CHORAL COMPOSITION. 330 


If. Andromache. ; ; 
B. Molossus. vt. Y - 
III. Andromache. f ; 
C. Molossus. ’ art. 0. 
9. Menelaus. Anapaests. QT. &. 


As an example of a still more elaborate correspondence 
take Aesch. Choeph. 806—478. 


I. Chorus. Anapaest. 
A. Orestes. ozo. «. 
II. Chorus. O70. B. 
NY. Electra. avyz. a’. 


III. Chorus. Anapaest. 
B. Orestes. o7g. 7’. 
II. Chorus. ave. B. 
%. Electra. evr. 7’. 


IV. Chorus. Anapaest. 
G Electra. ozo. o. 
V. Chorus. O70. e., 
C. Orestes. avz. 0. 


VI. Chorus. Anapaest. 
=. Electra. O70. 
V. Chorus. ez. ¢’. 
D. Orestes. avr. ¢’. 
VII. Chorus.* ozo. eo 


E. Orestes. O70. 
Gi «Electra: aT. Pi 
VII. Chorus. eyz. C. 


I. Orestes. ) 

%. Electra. > ozo. &. 
VIII... Chorus: f 

F. Orestes. 

. Electra. art. O. 
VII. Chorus. 

IX. Chorus. org. if 


IX. Chorus. apr. v. 
X. Cherus. Anapaest. 





* According to Goes fds chor. syst. p. 112), Electra has 
commonly the ez. {’ and ave. t'. 


336 CHORAL COMPOSITION. 


The whole system of the strophes is, therefore, the fol- 
lowing: 


, 


| anap. a Bw anap. 7 Bf y anap. 0 ¢ & anap. s @& 5’ ¢ 

1 7 - Oo O ¢ ¢ anap. 

The parabasis was a peculiarity of the ancient comedy. 
It was an insertion in the play which interrupted the atten- 
tion and in which the poet spoke through the chorus to the 
spectators. The parabasis was not a necessary part of com- 
edy; it might, therefore, be altogether wanting, as is the 
case in the Ecclesiazousae, Lysistrata, and Plutus of Aristo- 
phanes. On the other hand, a comedy might have more than 
one parabasis. A complete parabasis consisted of the fol- 
lowing parts : 

an of the zoupyeéziov, which comprised a few verses only, 
which sometimes were of the same kind as those of the fol- 
lowing part ; 

(2) of the zav@Puots, in its stricter signification. It consists 
always of verses by the line, most frequently of anapaestic 
tetrameters, but never of iambic trimeters 5 

(3) of the waxoor or mvriyos, usually a short anapaestic 
system which was recited quickly ; 

(4) of the strophe, OTOH] or Boi, of melic composition ; 

(5) of the ézfodnua, consisting of several verses repeated 
by the line, usually of trochaic tetrameters ; : 

(6) of the «a tistoogos or avtmdy, corresponding to the 
OTPOGY or (pn 5 : 

(7) of the LYTEMIOOH MC, corresponding to the ézodnuc. 

Except the ozoogy and arzictpoqos, which were sung by 
the chorus, the leader of the chorus: recited the other parts 
of the parabasis. 

Examples of parabases are: 

Arist. Nub. 510—626. 

13 xoupeceriov S1O—S17. 

II. MUU GIS 517—562 (metr. Eupolideum). 

IIT. jcexgov wanting. 

LY. oz QOqy 563—574. 

Ue emiognuc 575—594 (tetrametr. troch. cat.) 

Vis PTIGTOOGOS 595—606. 

VIL. a@rcentoojua 607—626. 

Nub. 1115—113). IL. zeoaBaorg (tetrametr. troch. cat.) 
Equit. 49°—610. 
I. xoupozior 498—506. (2 syst. anap.) 


CHORAL COMPOSITION. 337 


iT. mupuBcors 507—546 (vers. Aristoph.) 
if. poxpov 547—550. (system. anap.) 
HY. GTQOpy 531—564. 
V. émigdjyo 565—580 (tetram. troch. cat. ) 
VI. EVTLGTQOPOS 581—594. 
VIL. arzemioonua 595—610. 
Equit. 1263—1315. 
iY. OTOH 1263—1264. 
V. emcigon wee 1265—1289 (tetram. troch. cat.) 
VI. avTLTQOPOS 1290—1291. 
VIL. avzemiponua 1292—1315. 
Av. 676—800. 
4; HOMPOTLOY 676—684. 
ie mapupacts 685—722 (vers. Aristoph.) 
UI. paxgov 723—736 (syst. anap.) 
IV. OrQOg)] 737—752. 
V. émigonuc 753—768. (tetram. troch. cat. } 
Mi; avetotoogpos 769—784. 
VIL. avrexidonua 785—800. 
Vesp. 1009—1121. 
bs HOMMATLOP 1009—1014. 
at: mapuBaors 1015—1050 (vers. Arist.): 
III. waxoor 1051—1059 (syst. anap.) 
IV. OrQ0qy 1060—1070. 
if EmQOn Mee 1071—1091 (tetr. troch:. cat.) 
VI. LV TLGTQOPOS 1092—1100. 
VIL. avremivonua 1101—1121. 
Acharn, 626—718. 
I. xouparcoy 626—627 
II. nagdpasts 628—658 \ vers Aristoph. 
III. paxgor 659—664 (system. anap.) 
Eve STQOpH 665—675. 
Vi. EIQ OH Woe 676—691 (tetram. troch. cat.) 
Vis avtiotoopos 692—702. 
VII. avzenisonua 703—718. 
Ran. 675—737. 
IV. OzQ0p) 675—6835. 
Vi Ere OGypece 686—705 (tetram. troch. cat.) 
VI. avzistQopos 706—716. 
Vike ds i T17—737.. 
Pac. 729—818 
ie xomyucézioy 729—733 
Il. zapaBactg 734— 764 eee ees 
29 


Jos CHORAL COMPOSITION. 


Il. pangor 765—774 (syst. anap.) 

IV. OTQOP] T75—796. 

VII. avzicrooqos 797—S818. 
Pac. 1127—1190. 

IV. ozQopy 1127—1189. 

N; Ereio once 1140—1158 (16 tetr. tr. cat.; syst. troch.) 

VI. GNTLOTQODOS 1159—1171. 

VIL. avzemioonua 1172—1190. 
Thesmoph. 785—845. 

Il. zagePaow 785—813 (Vers. Aristoph.) 

II. eaxgov shieeedy on anap.) 

V. éniddnua 830 

With the Roman comic writers, the prologue supplied the 

lace of the parabasis. Yet Plautus has twice, Curcul. IV. 

1. Cistell. [. 3, a kind of parabasis, since in the “former the 
choragus addresses the spectators in catalectic trochaic te- 
trameters, in the latter Auazilium does the same in senaril. 

The exact correspondence which we find in the melic parts 
of the drama sometimes is transferred also to the dialogue. 
The individual persons often speak in single verses, as Soph. 
Elec. 384—414; or in half verses, as Soph. Oed. R. 625— 
629. Eur. Orest. 774—798; or in pairs of verses, as Soph. 
Oed. R. 108—131; or in such a manner, that the first per- 
son speaks in one, the second in two verses: Aesch. Prom. 


39—S81. Soph. Oed. R. 99—107. 


B. Free Choral Songs. 


The free choral songs (ovotjuata éodelvugva) consist of 
changing rhythms, which never return in the same order of 
sequence. ‘This kind of composition was peculiar to the 
later dithyramb of Philoxenus, Timotheus and Telestes, 
and was also employed in the drama, particularly in the 
commatic songs; for stasima are never composed in this 
way. ‘To the variety of the rhythms, the variety of the moods 
also corresponded, so that in the same song the Dorian, 
Phrygian and Lydian might alternate. 

Among the cmohehupen ee the grammarians have erro- 
neously classed the aozeopa, so called, single exclamations 
and sentences, which, bound to no definite rhythm, some- 
times preceded or followed or interrupted the speeches or 
songs. To these belonged the EMUPOV HOLT Cy as perv, (0), al, 
oimor, etc.; the épvurm and pecvurie, as tite Taar, & d- 
AvoauBe, and in Sappho: 


CHORAL COMPOSITION. 339 


"Ywor b7 70 wehadoor ['Tujraor], deoare réxroves avdoes 
[Nunr aor). 

FapBoog eoyerou tcog “Aort. 
Lastly the EmipOeymarind, which often embraced whole sen- 
tences, as in Bacchylides : 

"H 2ahog Oeoxoutos, od povvos avGoodnwr eoas. 
Dv 8 &y yt worm mapa ty Ppihyy yuraixe pEvyets. 

The genuine free songs, which form an independent whole, 
are either of such a sort that they form a whole of one or 
more strophes (wovdcteope : A; ézegdotopoga: AB; addor- 
dotoopa or xodvatgoga: ABCD ...), or that the song is of 
itself an existing indivisible whole, which transcends the or- 
dinary measure of a strophe (dzuyra). The strophes of 
which a ovotyjpa amohehupevov is composed, are sometimes 
more, sometimes less like each other in rhythmical charac- 
ter (mapouowszgoqpe, avowowateoga). The resemblance 
occurs most frequently at the beginning or end of the 
strophes. 

As examples of this kind of composition, the following 
passages may serve: 


Telest. Fragm. Dithyr. Argo in Ath. XIV. p. 617 F. 
626 C. 
“Ov coor cogar LaBovour ova éxédmopat vom 
Aovmoig ogetog bgyavor 
Aiuy Adjvar 
Avoopdauhpor aisyos éxpopnteioar 
Avois én yeouv Badsiv 
Noppayere’ yepoxtva@ 
Droit Magove xdéos. 
Ti yao vy evyoatow xaddeos 
‘Okug Eowe Ezeiper ; 
‘A yay mapSeviay ceyopwov xo dud anéveme 
Kioto ; 
Eur. Here. fur. 1017—1041. 
‘O povos nv ov ’Aoyodis eye matoa 
Tote wey megicapotaros “ai aoLotos 
Edad: taryAavaod naidor 


340 CHORAL COMPOSITION. 


Q e 5 A , , 
Ta 5 vmepepahe, mupedoupe Ta TOTE ROK. 
~ , , 
Tahan Swoyeret x0g@ wovotéxvov Ilooxuvys 
(@ , mo” ia , , P 
ovoy eyo AsSar Ovouevoy wovoos 
yy A , , 2h Tes 
au O& TEexva TOLYOVa TExOMEVOS, w Jalé, 
Avooads ovyxatepyacw holo. 


3 , \ 
Eg tiva orevaymov 
7 b) ~ b) ¢? 
Hyoor 7 poitav wdar 7 tor “Aida yooor ayyso ; 
Ded ger: ede, Siavdiya xAGIea 
c , , 
Kiiverca vipinvior Sonor. 
oA a ‘ ’ a A 
Quo Weod_e ta TExVE 10 TATOOS 
El 
ADa néinera Svotavor, 


Evdovrzos vavor Sewovr éxnodav qovov. 

Tlegi bé Secua xa modvBoox aupacoy 

Epsiopad “Hoczdevor appt déuas cade Laivorw 
Argue’ cpt xloow oxo. 


‘O 8, ws TIS OoMG &mTEQOY xaTAGTEVOY 
> ~ , , € , \ 
Rdiva téxvwv, MpEcPuS VoTEQ@ 71001, 
ITixoay Siwuwr yvow. mages? 06s. 
The first three divisions end with the ecbasis. 
Soph. Philoct. 1169—1217. 
y ¢ Bi ~ 
D, Tlahw neko madoor adynw vnéuvacas, o more 
Tov mow értoney, 
yd > oA ‘ , > ” 
(pe wAeoas; Tim Elppaucat; 
X. Ti covr tetas ; 
D. Ei ov ray tuoi orvyepay 
Towada yaiuy w jamoag ase. 
X. Tode yag vod xpariotor. 
@D, Ano viv pe deiner 787. 
X. ila wor, piha raita maonyyehas, Exovee té 
MOKOCEW. 
4 mn” 
Looper taper 
PA: 1D MEU was , ’ 
Naos w nuiy retaxutas. 


CHORAL COMPOSITION. 341 


\ » 
Mn, mo0¢ aguiov As, éLOys, ixetevoo. 
Merpiale. 
ef A ~ 
2 Eevor, usivare, 2009 Gear. 
Ti Boosts ; 
Aint aiai, daipmor Satuor. 
> 
AnodhoX 0 téhag: 
‘ ‘ [eM hb [ig Poel te , 
{2 novg move, tia && ev Bip 
4 aed ~ / al ae 
evs@ TH mecoOn THUS ; 
9, ) es 
2 Sévor, Mer Enndvdes avdue. 
Tt aeSovres ahdouora@ 
, ~ , <a ay 
Traucg tov magos, wv moovpaivres ; 
4 A > Zz ie 
Ovzot vEeuecntor, advorta yEmmegip 
A ~ ~ 
Aine nai mapa vovy Ooosir. 
~ 5, iA 
Badvi vvr, wo tadav, ws o8 xehevoper. 
UJ 
Ovdéror ovdenut, to Pt 700 Euredor, 
Ovd et mvepogos aoregonytigs 
~ > z b Wie ey oh 
Boorras avyaig uw eiot phoyivor. 
‘E66éz@ "Ihiov, ot & va éxsive 
ig gy ~ 
TTevteg oot 768 éthacay éuov 080g 
Apdoor anaca. 
> i J 3s 
Ald, 0 Sévor, ev yé por evzos oogsare. 
Tloiov égeig r08° éxtos ; 
nnd a 3} o 
Zipos, & moter, 
\ \ 
"HL yévur, 7 Beheov t1, agomeupate. 
Qe civa 6&yo makawar note ; 
lai? wee) \ , Soy. , , 
Koar ano narra nai dodo téuo yxe0t. 
Dove pore voos 75n. 
Ti mote ; 
Tlatéon pareve 
loi yas ; 
@? 
Es Aisov 
Day 


342 CHORAL COMPOSITION, 


X. Ov yao gor & pany st, 
yy , es, , , 
82 molig w mohig marpia, 
ITa¢ av siciSoyu o a9)w0s 7 carne, 
‘Os ys coy hiner tegav MBAS &y9oo0i¢ 
"EBay Aavaoig dowyog* éx ovdev sie. 
The choruses of the Roman tragic poet Seneca are for 
the most part the ovorjuara metoixe ataxta, so called, that 


is, composed of well known and ordinary verses and half 
verses, which, however, do not correspond to each other 


antistrophically. 


INDEX. 


[The figures refer to the number of the page. ] 


Acatalectic series, 26. 

Adaptation of rhythm and metre 
to words, 21. 

Adonius, versus, 83, 90, 132. 

Aeolian mood, 46, 59, 73. 

Aeolian poetry, 45. 

Aeolian style, 289. 

Aeolian strophes, 35, 46. 

Aeolian verses, 89. - 

Aeschylus, 48. 

Afranius, C., 55. 

Aywyn, 20. 

Alcaeus, 45. 

Alcaic strophe, 280; used among 
the Romans, 2380. 

Alcaicus decasyllabus, 95. 

Aleaicum dodecasyllabum, 91. 

Alcaicus hendecasyllabus, 92. 

Alemaicum dodecasyllabum, 93. 

Alemanium, genus, 120. 

Alcmanium, metrum, 102. 

Alemanius, versus, 116. 

Alexander, 49. 

Alexandria, 49, 

Alexis, 49, 53. 

Alliteration, 23. 

Amoebaean poetry, 53. 

Amphibrachys, Amphibrach, 10. 

Amphimacer, 10. 

* Avduhaors, 37. 

Anacreon, 45. 

Anacreontean verse, 150. 

Anacreontic songs, 45. 

Anacreontic poems, 218; rhythm 
of, 180. ; 

Anacreontics, in Seneca, 180. 

Anacrusis, 8. 

Ananius, 159, 175. 

Anapaestus, anapaest, 10. 

Anapaestica, basis, 99. 

Anapaestic rhythms, 98. 





Anapaestic systems used by the 
dramatists, 246; Roman dram. 
252; Seneca, 253. 

Anapaesticus, dimeter, 100. 

Anapaestica, dipodia, 99. 

Anapaestica, hexapodia, 102. 

Anapaests, irrational, 102. 

Anapaest, light or irrational, 17. 

Anapaests, logaoedic, 19. 

Anapaesticus, monometer, 99. 

Anapaestica, monopodia, 99. 

Anapaestica, pentapodia, 102. 

Anapaests, rational, 98. 

Anapaesticus, tetrameter, 101. 

Anapaestica, tetrapodia, 101. 

Anapaesticus, trimeter, 100. 

Anapaestica, tripodia, 101. 

Anapaest, trochoidic, 17. 

Annomination, 23. 

* Arrenigonua, 336. 

Antiphanes, 49. 

Antibacchius, 10. 

Antispastus, antispast, 10, 29. 

Antistrophe, 35. 

’ Avriateog7, 39. 

Antistrophic composition in Do- 
rian lyric and tragic poetry, 288. 

Antistrophic choral songs, 288. 

’ Avtwdn, 336. 

Apel’s metric, 4. 

Apollonius ¢ sdoygdgos, 2. 

Apollonius of Rhodes, 50. 

Aratus, 50. 

Archebuleus, versus, 97, 107. 

Archilochus, 44. 

Arion, 46. 

Aristoxenus, Elements of Harmo- 
ny and Rhythm, 2. [2. 

Aristides Quintilianus de musica, 

Aristophanes of Byzantium, 2. 

Aristophanes, 48. 


344 


Aristophanic verse, 203. 

Arrhythmy, 8. 

Arsis, 7, 8. 

Arvalian fraternity, 160. 

Asclepiadean verse, 141. 

Asclepiadeum majus, 143. 

Assonance, 23. 

Asynarteti, versus, 33. 

Asynartete verses, 33, 34, 153. 

Atilius Fortunatianus, 3. 

Atellan fables, 54; poets, 178. 

Attius, L., 55, 246. 

Augustinus de musica, 2. 

Ausonius, D. Magnus, 58,233,277. 

Babrius, 175. 

Bacchius, 10. 

Bacchic rhythms, 125. 

Bacchiacus, dimeter, 127. 

Bacchiacus, tetrameter, 128. 

Bacchylides, 46. 

Bacchylideum metrum, 115. 

Basis, 61. 

Bdous, 61. 

Beat, 8. 

Bentley, Richard, 3. 

Besseldt, K., 4. 

Bion, 52. 

Boeckh, Aug., 4. 

Boiscius, versus, or octonarius, 78. 

Boiscus of Syzicus, 176. 

Bogéngs a dissyllable, 193. 

Brachycatalectic series, 26. 

Broken verses, 31. 

Brunck, Rich., 3. 

Bucolic poetry, 51. 

Burney, C., 4 

Caesura, 38. 

Caesura xara relroy reozator, 185. 

Callimachus, 50. 

Callinus, 44. 

‘Castorion, 166. 

Catalectic in disyllabum, 26. 

Catalectic in syllabam, 26. 

Catalectic in trisyllabum, 27. 

Catalectic series, 26. 

Catullus, C. Valerius, 56, 175, 
176, 276. 

Xaopwdia, 30. 

Choliamb, 45. 

Choerileum, metrum, 183. 

Choral composition, 35, 288. 

Chora] songs, rhythms in, 314 sqq. 





INDEX. 


Xogétog tauBoscdrs, 17. 

Xogstos tgozoesdys, 17. 

Choriambus, choriamb, 10, 29. 

Choriambic rhythms, 129. 

Choriambicus, dimeter, 141. 

Choriambicus, hexameter, 146. 

Choriambicus, monometer, 131. 

Choriambicus, pentameter, 145. 

Choriambicum polyschematistum, 
143. 

Choriambicus, tetrameter, 145. 

Choriambicus, trimeter, 143. 

Choruses in Seneca, 342. 

Claudius Claudianus, 58. 

Clausula, 25. 

Cleanthes, 50. 

Cleaver, 4. 

Cleomachean verse, 147. 

Close or clausula, 33. 

Coluthus, 51. 

Combination of series, 28. 

Combination of series and verses 
into rhythmical masses, 33. 

Comedy, 48. 

Comic trimeter, 171, 173. 

Composition xara ortyov, by the 
line, 33. 

Composition zaré redoteyor, 238. 

Comatic songs, correspondence of, 
333; examples of, 333 sqq. 

Contraction of shorts, 21. 

Corinna, 134. [338. 

Correspondence in the dialogue, 

Cratinus, 49. 

Cretic rhythms, 108. 

Creticus, dimeter, 111. 

Creticus, hexameter, 115. 

Creticus, monometer, 109. 

Creticus, pentameter, 115. 

Creticus, tetrameter, 114. 

Creticus, trimeter, 113. 

Cybele, songs of, 149. 


‘Cyclic anapaests, 19, 102. 


Dactylus, dactyl, 10. 

Dactylic rhythms, 80. : 

Dactylic systems, used by lyric, 
tragic and comic poets, 244. 

Dactylicus, dimeter, 83. 

Dactylicus, hexameter, 87. 

Dactyl, iamboidic, 17. 

Dactyls, irrational, 88. 

Dactyl, light or irrational, 17. 


INDEX. 


Dactyls, logaoedic, 19, 90. 

Dactylicus, monometer, 83. 

Dactylicus, pentameter, &6. 

Dactyls, rational, 81. . 

Dactylicus, tetrameter, 86. 

Dactylicus, trimeter, 84. 

Decapodia Alcaica, 267. 

Definition of rhythm, 7. 

Demetrius Triolinius, 3. 

Diaeresis, 38. 

Aaigeots, 39. 

Atyoovot, 9). 

Digamma, 31. 

Diiambus, diuamb, 10. 

Dimeter, 16. 

Diomedes, 3. 

Dionysiac festivals, 47. 

Dionysiac poems, 149. 

Dionysius of Harlicarnassus, de 
compositione verborum, 2. 

Dionysius of Athens, surnamed 
the Brazen, 233. 

Dionysius Periegetes, 51. 

Diphilus, 53. 

Dipody, 16. 

Aino0la, 15. 

Atonuor, 9. 

Dispondeus, dispondee, 11. 

Distich, 270. 

Distich composition, 34. 

Distichum elegiacum, 34. 

Dithyrambs, 36. 

Dithyrambic poetry, 46. 

Ditrochaeus, ditrochee, 10. 

Diverbium, 33. 

Dochmiac systems in the Greek 
dramatists, 255. 

Dochmius, 11, 110, 117. 

Doering, L. I., 4. 

Dorian poetry, 46. 

Doric mood, 46, 59, 73, 289. 

Doric strophes, 35. 

Double kind of rhythm, 12. 

Draco, on metres, 2. 

Drama, 47. 

Ductus, 20. 

Ecbasis, 63. 

”ExBaors, 63. 

Ecclesiazousae, 336. 

Elegiac pentameter, 85. 

Elegiac poetry, 44. 

Elias Chorax, 3. 





345 


| EuBarrjova, 98, 200. 


Encomiologicum, metrum, 182. 

Ennius, Q., 54. 

"Eqipria, 338. 

Epic-didactic poems, 43. 

Epicharmus, 51, 201. 

Epinicia of Pindar, rhythms in, 
300 sqq. 

Epionicum a minore, 141. 

Epionicum tetrametrum cat., 91. 

* Enigdeypatine, 126, 338. 

* Exiggnwc, 330. 

Epitrite kind of rhythm, 15. 

Epitritus, Epitrite, 10. 

Epodic composition, 222. 

Epos, 43. 

“Enos Atohinor, 89, 198. 

Epode, 35. 

°"Emw0ds sc. otg0py, 39. 

“Entayzoovor, 10. 

‘“Extdonpor, 10. 

Equal kind of rhythm, 12. 

Erotic poems, 149. 

° H9ohéyor, 147. 

Eupolidean verse, 139. 

Eupolis, 49, 179. 

Eurhythmy, 1, 8. 

Euripides, 48. 

“E&donuor, 10. 

“E&dyoover, 10. 

Fabula palliata, 55. 

Fabula togata, 55. 

Falling rhythm, 8. 

Feminine caesura, 40. 

Feminine close, 27. 

Fescennine songs, 93. 

Figure, 1. ; 

Flaccus, C. Valerius, 58. 

Flavius Mallius Theodorus, 3. 

Flower song in Athen., 177. 

Foot-caesura, 3. 

Foot-diaeresis, 39. 

Freer anapaestic systems, 250. 

Free choral composition, exam~- 
ples of, 339 sqq- 

Free choral songs, 228. 

Free songs forming an indepen- 
dent whole, 339. 

Freese, C., 4. 

Friedmann, F. T., 4, 5, 231. 

Fulcrum y or 7, 296. 

Gaisford, Thom., 3. 


346 


Galliambus, 220. 

Galliambic verse, 152. 

Tévog durhdarov, 12. 

Dévog nusohior, 14. 

DPévog exitertor, 15. 

Lévog oor, 12. 

Genus sesquitertium, 15. 

Glyconeus hypercatalectus, 91. 

Glyconic systems in lyric and 
dramatic poets, 258; Seneca, 


Glyconic verse, 92. 

Gnomic poetry, 44. 

Gotthold, F. A., 4. 

Hadrian, 161. 

Heath, Benjamin, 3. 

Heliodorus, 233. 

Hemiambs, 272. 

Hephaestion, Manual, 2. 

Hermann, Gotfr., 3. 

Herodianus, 3. 

Hesiod, 43. 

Hexameter, 16. 

Hexameter sélovgos, 88. 

Hexameter xar évdrdwov, 195 ; Ao- 
yoecdns or modtixds, 195. 

Hexametri Priapei, 195; in the 
Latin poets, 195. 

Hexapody, 16. 

Hiatus, 30. 

Hipponacteum, metrum, 91. 

Hipponactean verses, 45. 

Hipponax, 44, 175,176; histori- 
cal value of, 2. 

Homer, 43. 

Horace, Sapphic strophe in, 276; 
Sapphic and Adonian, 279. 

Horatius Flaccus, L., 57. 

Hypercatalectic series, 26. 

Hypolydian, 290. 

fambus, iamb, 10. 

Tambic rhythms, 73. 

lambicus, dimeter, 75. 

Iambica, dipodia, 75. 

Tambi ischiorrhogici, 124. 

lambica, hexapodia, 80. 

lambicus, monometer, 75. 

Tambica, monopodia, 74. 

~ Tambica, pentapodia, 80. 

Iambicus, tetrameter, 77. 

lambica, tetrapodia, 79. 

Iambieus, trimeter, 76. 





INDEX. 


Iamb, trimeter, claudus or Hip- 
ponacteus, 77. 

Iambica, tripodia, 78. 

Iambographers, 45. 

Ibycus, 46. 

Iatus, 8. 

Indications of the verse-end, 291, 
296 sqq. 

lonian poetry, 43. 

fonian style, 290. 

lonicus, ionic, 10. 

Tonici a majore, 146. 

lonic dimeter, 147. 

Tonic strophes in Anacreontic po- 
ems, 226. 

lonic systems used by lyric poets 
and tragedians, 267. 

[onic tetrameter, 148. 

Ionic trimeter, 147. 

Tonici a minore, 148. 

Tonic (a min.) dimeter, 150. 

Tonic (a min.) monometer, 149. 

lonic (a min.) tetrameter, 152. 

Tonic (a min.) trimeter, 151. 

Irrationality, 17. 

Italicus, C. Silius, 58. 

Ithyphallicus, 69. 

Juvenalis, De Junius, 58, 

Karddnkig, 25. 

Kuivordoddyor, 147. 

Kouperind, 314, 333. 

Kowmor, 314, 333. 

Laberius, D., 55. 

Lachmann, K., 4. 

Lange, W., 4. 

Leonine verses, 25, 195. 

Limping verses, 45. 

Linus, 50. 


Lindemann, F., 5. 


Livius Andronicus, 54. 
Logaoedic verses, 88, 102. 
Long, 9 

Longinus, Prolegomena, 2. 
Lucanus, L. Annaeus, 58. 
Lucian, 106. 

Lucilius, C., 55. 
Lucretius Carus, T., 56. 
Lycophron, 50. 

Lydian composition, 290. 
Lydian mood, 46. 
Lysistrater, 336. 
Maecenas, 220. 


INDEX. 


Manuel Moschopulus, 3. 

Mexzooy in a parabasis, 336. 

Marching songs, 200. 

Marius Plotius, 3. 

Marius Victorinus, 3. ° 

Martialis, M. Valerius, 58, 176. 

Martianus Capella, 2, 233. 
iasculine caesura, 40. 

Masculine close, 27. 

Maximus Victorinus, 3. 

Meleager, 50. 

Menander, 53. 

Meovjurie, 338. 

Msow0dds, 35. 

Messenicus, versus, 101. 

Metre, 1, 9. [29. 

Métoa nor avtmddevav prxtd, 

Metrical scholiasts, 3. 

Metrical science, 1. 

Middle time, 17. 

Mime, 52. 

Mimnermus, 44. 

Mixolydian, 270. 

Molossus, 10. 

Monometer, 16. 

Monopody, 16. 

Mov dior, 314. 

Moods of the Greeks, 289. 

Moschus, 52, 191. 

Movement, 20. 

Mueller, G. F., 4. 

Munk, E., 4. 

Musaeus, 50, 51. 

Mystagogues, 50. 

Naevius, On., 54. 

Nicander, 50. 

Norresianus, 58. 

Nonnus, 51, 191. 

Novius, Q., 55. 

Numerus, 7. 

Numerus primarius, 33. 

” Oyxos, 289. 

’Oxréyoovor, 11. 

Octonarius, versus, 68, 155. 

’Ozrdonuor, 11. 

Odyssey in Saturnine measure, 55. 

Olenus, 50. 

Oppianus, 51. 

Ordines acatalecti, 26. 

Ordines brachycatalecti, 26. 

Ordines catalectici, 26. 

Ordines hypercatalecti, 26. 





347 


Orpheus, 50. 

Orthius, 12. 

Ovidius Naso, P., 56. 

Pacuvius, M., 55. 

Paeans, 36, 108. 

Paeon, 10. 

Palimbacchius, 10. 

Parabasis, parts of, examples of, 
336 sqq. 

Haganatahoyy, 116, 121. 

Paroemiac, 100. 

Pause, 25. 

Pauw, Corn. de, 3. 

Tevtdyoovot, 1). 

Pentameter, 16. 

Pentameter elegiacus, 230. 

Pentapody, 16. 

ITevrdéonuor, 10. 

ITevdnumeoés dactylicum, 85. 

Pergamus, 49. 

Persius Flaccus, A., 58. 

Petronius Arbiter, T., 58. 

Phaedimus, 226. 

Phaedrus, T., 58. 

Phalaecus, 198. 

Phalaecean verse, 04. 

Phemonoe, 184. 

Pherecrates, 49. 

Pherecratean verse, 24, 90, 132. 

Philemon, 52. 

Philicus of Corcyra, 146, 207. 

Philip, 49. 

Philippus of Thessalonica, 233. 

Philoxenus, 333. 

Photius, 264. 

Phrygian mood, 47, 108, 149, 290. 

Pindar, 46. 

Plato, 49. 

Plautus, M. Accius, 55, 177. 

Ivtyog in a parabasis, 336. 

Political verses, 51. 

Polyschematist Pherecratean, 132. 

Polyschematist rhythms, 37. 

Porson, Rich., 3, 202. 

Pomponius, L., 55. 

Pratinas, 80. 

Praxilleus, versus, 97. 

Priapean verse, 93, 132, 140. 

Principal caesura, 40. 

Principal diaeresis, 39. 

Priscian, 175 

Proceleusmaticus, 


[tic, 10. 
Proceleusma- 


348 


Proceleusmaticum  tetrametrum 
Aristophaneum, 100. (338. 

Prologne in the Roman writers, 

Proode, 35. 

ITpowdds, 35. 

Propertius, Sext. Aurelius, 57. 

Prosodiacum, metrum, 182, 

Psellos, Michael, 51. 

Pyrrhichius, Pyrrhich, 9. 

Quadratus, versus, 78. 

Quintus Smyrnaeus, 51. 

Refraction, 37. 

Reitz, Fr. Wolfg, 3. 

Resolution of longs, 20. 

Rhyme, 23. 

Rhythm, 1. 

Rhythm of Choral song, 289. (299. 

Rhythms of Dorian lyric poets, 

Rhythms of single verses, how 
determined, 20s. 

“PuIuot dxorddnxror, 26. 

“Pvduol Boazvnarddnxror, 26. 

“Pududs éagzos, 33. 

“Puduoi xarodnutixot, 26. 

“Puduoi modvoynudrotor, 37. 

“Puduol vxepnardlnutor, 20. 

Rinthon, 50. 

Rising rhythm, 8. 

Rome, 49. 

Roman comic trimeter, 175. 

Roman tragic trimeter, 174. 

Sacred songs of the Romans, 53. 

Sapphicum enneasyllabum, 91. 

Sapphicum majus, 142. 

Sapphic verse, 91. 

Sappho, 45; odes of, 275. 

Satirical poems, 44. 

Satura, 53. 

Saturnine verse, 53, 70. 

Saturnius, versus, 159. 

Satyrdrama, 47, 171. 

Scazon, 45. 

Scipios, epitaphs of the, 161. 

Seidler, A., 4. 

Seneca, L. Annaeus, 58; trime- 
ters in, 175. 

Senarius, 173. 

Septenarius, versus, 68, 78. [156. 

Septenarius, versus, or quadratus, 

Serranus, Calpurnius, 53. 

Samonicus, L. Serenus, 58. 

Series, 25. 





INDEX. 


Servius Maurus Honoratus, 3. 

Short, 9. 

Simmias, 146, 200, 205. 

Simonides, 46. 

Simonides of Amorgos, 44. 

Simonides of Ceos, 44. 

Simonideum metrum, 102. 

Simple rhythms, 59, 

Single verses in strophes, 291. 

Sinking rhythms, 8. 

Solon, 44. 

Songs of the dramatists, 314. 

Sophocles, 43. 

Sophron, 52. 

Sositheus, 50. 

Sotades, 214. 

Spitzner, F., 4. 

Spondeus, spondee, 10. 

Spondaics among the Greeks 
192; among the Romans, 192.” 

Srdéoua, 314. ape 

Statius, Caecilius, 55. 

Statius, P. Papinius, 58: i 
strophe in, 277, ea vai a 

Stesichorus, 46, 52. 

Stesichorium, metrum, 102, 

Stichic composition, 153. 

a tives, 29. 

Stiyor covvdgrnror, 33. 

Srizyos Exwods, 3A. 

Jrizos Teowods, 34. 

Stop, 25. 

Strophe, 35. 

Top, 30. 

Strophes divided according to 
rhythm, 271. 

Strophe Sapphica, 274 

Strophic composition, 270. 

Substitution of rhythms, 36. 

SvdhaBy &dedgogos, 2. 

Syllaba anceps, Zo. 

Symmetry, l. 

Syrus, P., 55. 

Systems, 33. 

Svornua && omotwy, 34, 240. 

J vot UATE, Yon 

Svorjuata dmohshypéva, 36, 338. 

Lvov yj ware. | HOT. TEQLOOLOMO'S 
avicovs ; &TEQuogLoTa; &§ vmol- 
wy nate oxeow, 240. 

SvOTHUATO LET OLKE. ATORTO, 342. 

Systematic composition, 34, 240. 


INDEX. 349 


Svtvyla, 15. 

Telestes, 338. 

Terentius Afer, 55. 
Terentius Maurus, 3, 221. 
Tetedyoovot, 10. 
Tetralogy, 47. 

Tetrameter, 16. 

Tetrapody, 16. 

Tsteanodta Bovnolixy, 52, 186. 
Tereconor, 10. 

Thales, 233. 

Theocritus, 52, 175. 
Theognis, 44. 

Thesis, 8. 

Thespis, 47. 

Three half kind of rhythm, 14. 
Tibullus, Albius, 56. 
Timocreon, 219. 
Timotheus, 47, 338, 

Tour, 39. 

Tragedians, 241. 

Tragedy, 47. 

Tragic trimeter, 170. 
Tribrachys, tribrach, 10. 
Tricha, 3. 

Toizoovor, 10. 

Trimeter, 16. 

Tripody, 16. 

Totonuor, 10. 

meaciieee. trochee, 10. 
Trochaic rhythms, 59. 
Trochaic verses, 154. 
Trochaicus claudus, 158. 
Trochaicus, dimeter, 65. 
Trochaica, dipodia, 64. 
Trochaica, hexapodia, 72. 
Trochaicus Hipponacteus, 158, 
Trochaicus, monometer, 64. 
Trochaica, monopodia, 61. 


30 





Trochaicus, pentameter, 69. 
Trochaica, pentapodia, 72. 
Trochaicus quadratus scazon, 158. 
Trochaeus semantus, 12. 
Trochaicus, tetrameter, 68. 
Trochaicus, tetrameter, claudus 

or Hipponacteus, 69. 
Trochaica, tetrapodia, 71. 
Trochaicus, trimeter, 67. 
Trochaica, tripodia, 69. 
Try phiodorus, 51. 
Tyrtaeus, 44. 
Unity of Choral songs, 290. 
Varro, 220. : 
Varro, wegi eaywyng, 257. 
Vareus, i sy ef 
Verse, 29. 
Verus, 29. 
Versus Adonius, 181. 
Versus Anacreonteus, 216. 
Versus Archebuleus, 204. 
Versus Boiscius, 176. 
Versus Cleomachens, 214. 
Versus epodus, 34. 
Versus hereicus, 183. 
Versus Laconicus, 201. 
Versus Priapeus, 212. 
Versus proodus, 34. 
Versus Septenarius, 177. _[192. 
Versus Spondiacus or Spondiazon, 
Versus éxégados, 194. 

“ — dodeydorgor, 194. 

“ — hayapot, 194. 

6  pstovgor, 194. 

‘¢  meoxotheot, 194. 

“  weoxépador, 193. 
Virgilius Maro, P., 56. 
Voes.J. tt. 4. 
Voss, 190. 





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